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RESEARCH LIBRARY 
Peesacwht RESEARCH INSTITUTE 


JOHN MOORE ANDREAS COLOR CHEMISTRY LIBRARY FOUNDATION 








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THE SPECTRUM PRIMARIES 


are Red, Green, and Violet 


THE PIGMENTARY PRIMARIES 
are— Crimson 
Yellow and 
Blue 
These are also the Secondaries of the 
Spectrum 


COM PLEMENTARIES 


Red 

Orange 
Yellow 
Yellow-Green 
Green 
Blue-Green 


Prare | 


Blue 
Blue-Violet 
Violet 
Purple 
Crimson 
Scarlet 


2 rp rg a 


THE STUDY OF COLOR 


WITH LESSONS AND EXERCISES 


Arranged for Instruction of Teachers, 
Artists, Students and Parents 


BY 
MICHEL JACOBS 


DIRECTOR OF THE METROPOLITAN ArT SCHOOL OF NEW YORK 
AND METROPOLITAN COLOR GUILD oF NEw York 


Avutuor oF “*THE ART OF COLOR” 


Sixteen illustrations in full color, ninety-two in black and white, 
and eighty-six charts for coloring 





NEW YORK 
D. VAN NOSTRAND COMPANY 
EIGHT WARREN STREET 
1925 | 





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Copyright 1925, _ 
By D. VAN NOSTRAND COMP 


All rights reserved, including that of translation into the 
and other foreign languages 


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THE GETTY RESEARCH 
INSTITUTE LIBRARY 


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This little work I dedicate to those who’ve passed beyond; 
Who helped me in my early days, with encouragement and praise: 


My BeELovep PARENTS 
AND 
STUDENTS 


HELENE HENKEL 
W. H. pEB. NELSon 
E.twyn W. Poor 


Now that the joy and pleasure’s gone in their association I have 
still the pleasure of remembering. 





INTRODUCTION 


If the youth were taught the laws and theory of color 
in the same way as he is taught the laws and theory of 
music in the schools, the art of any country would be 
raised to a higher level. 

This book is designed as a means of teaching the 
theory of color by progressive exercises as demonstrated 
in my first book, “The Art of Color.’’ These exercises 
are so arranged that the student does the easy task first 
and gradually progresses until the designs become more 
advanced and complicated. 

I have divided the book into three parts or sections 
which can be used for the first, second, and third year in 
the study of color. The student may do the entire work 
laid out in the book, or the instructor may omit any part 
without impairing the general instruction. The student 
will find that by doing these exercises the eyes become 
physically stronger to see color in nature, and things that 
were unnoticed in the past will hold an enhanced value 
when he sees the subtle colors with which Nature bedecks 
herself. The lessons will also correct false impressions 
and give a wider range of the possibilities of color com- 
binations and compositions; and the color of shadows, 
which is always difficult to see, will automatically become 
discernible. 


vl INTRODUCTION 


The theory of color used is based on the latest dis- 
coveries in the scientific and artistic world and is now used 
by many noted artists, designers, interior decorators, 
poster and costume designers, and for all the other fine 
and applied arts. | 

The standardization of colors and their names, hues, 
tones, shades, and tints, can be designated accurately by 
the use of the color-mixing charts which in itself will do 
away with the conflicting names so long in use. The terms 
of secondary and tri-cendary colors in the old sense have 
been discarded, as these are now known to be imperfect 
complementaries, or muddy color, and in their place gray 
or neutralized color substituted. 

These. exercises have been successfully used at the 
Metropolitan Art School of New York, and they have 
been found to hold the attention of the student and to keep 
that enthusiasm with which he first approaches the graphic 
arts. It is hoped, after he has studied and worked in 
these exercises, that work will be continued in the study 
of color, as it is a subject when once started will be a 
source of unending joy. 

The charts numbered 1 to 86 are so arranged that 
they can be torn out of the book and inserted into a binder. 
These binders can be secured from the publishers or from 
the book stores at a moderate cost. 


CONTENTS 


PAGE 

PON ak Ss nec hoe pace cwasces Dee Oe i Gt ee eens wares Vv 

MATER DI ONG gcc. occ cesviveccvuece see ec EE ee eit ey a te I 

EWG ieee es nv cece aasgiscces We Se ee ses RR hth aN ePeiee Bgh ey: 6 
FIRST SECTION 

Pee Ne LIM OPECIIUM, 24.6. ssc cece ee ee bees tap nncwanat ae 14 

meets COLOr Mixing os ke cc kee See db nce sed gas se tlenlaiee 20 


Tuirp Lesson: One Color and One Complementary in Brilliants.... 25 
FourTH LEssoN: ‘Two Colors and Two Complementaries in Brilliants 31 
FirtH LEssoN: Three Colors and Three Complementaries in Brilliants 33 
SrixtH Lesson: Four Colors and Four Complementaries in Brilliants.. 35 
SEVENTH LEssoN: Five Colors and Five Complementaries in Brilliants 37 


SECOND SECTION 


EIGHTH LEssoN: One Color and One Complementary in Neutralized 


PMONES pint cied 0s 5% Pe Pee eterna siete «und a cclal tin ehe s aiyh xia aise ate Da 42 
NINTH LEssoN: Two Colors and Two Complementaries in Neutral- 
MT rc heey eh tS ceca y se Riae ole a alee Miata s 45 
TENTH Lesson: Three Colors and Three Complimentaries in Neutral- 
Be COM ei oe cia vhs ou os oy 4 alae Wu w aos a osenee oy Paks 47 
ELEVENTH LessoN: Four Colors and Four Complementaries in Neu- 
eee ee a, ais oes Ale ols 0 Ws gS sive d bleak ea Mie eg wiele wk ae 48 
‘TWELFTH LeEssoN: Five Colors and Five Complementaries in Neutral- 
oD CHEST nce ig kee ov dws dn oka dds so 0d omer ee EA a 50 


THIRTEENTH LEssoN: Three Colors in Analogous Harmony, Brilliants 52 
FOURTEENTH LEssoN: Four Colors in Analogous Harmony, Brilliants. 55 
FIFTEENTH LEssoN: Five Colors in Analogous Harmony, Brilliants... 56 
SIXTEENTH LEsson: Six Colors in Analogous Harmony, Brilliants.... 58 
SEVENTEENTH LEssoN: Three Colors in Analogous Harmony, Neutral- 
RZD «tie «4's Bee en meee on 95s 50 og Boe wie ota oe ea ore aad Mee iste te 59 
EIGHTEENTH LEssoON: Four Colors in Analogous Harmony, Neutralized 62 
NINETEENTH LEssoN: Five Colors in Analogous Harmony, Neutralized 64 
TWENTIETH Lesson: Six Colors in Analogous Harmony, Neutralized. 65 
Vii 


Vill CONTENTS 
PAGE 
THIRD SECTION 


Twenty-First LessoN: Two Colors and One Mutual Complementary. 70 
‘TWENTY-SECOND LeEssoN: Three Colors and One Mutual Comple- 


MENTAL Y ses hs soe n'a sie mnia we Sys bhnve whe 14) 00m im blial a mw wea net alleen 75 
TWENTY-THIRD LESSON: Three Colors and Two Mutual Comple- 
MENCALIES (6g ss a ao oie oly e nlei ns bore wena plain wie bite a v7 
TWENTY-FOURTH LESSON: Four Colors and One Mutual Complemen- 
¢: 0 Ae i ee ear 79 
TweENTy-FirtH Lesson: Four Colors and Two Mutual Complemen- 
CATIES ook nieiela seas o's 0 pla oibla ge ale eimie 0 nla ole ale: ejane oan ele 80 
‘TWENTY-SIXTH LEssoN: Four Colors and Three Mutual Complemen- 
CATICS Cs co casio cole Seb yoke wlniee Or Ree Ee ie ote éone eee ee 82 
‘TWENTY-SEVENTH LEssoN: Five Colors and One Mutual Complemen- 
CALVO Se ata oe ioe ails ire eee din ote via 4 61a ae aves eanvy eS 
TWENTY-EIGHTH LESSON: Five Colors A Two Mutual Complemen- 
faries . ho alee. shee Sota ero ee nee oe he oe’ Waa etd nn 86 
TWENTY-NINTH LEsson: Five Colors and Three Mutual Complemen- 
cba. Mn MMR EN 88 


THIRTIETH LESSON: Five Colors and Four Mutual Complementaries.. 90 
THIRTY-FIRST LEssoN: Six Colors and One Mutual Complementary... 92 
THIRTY-SECOND LESSON: Six Colors and Two Mutual Complementaries 94 
THIRTY-THIRD LEssON: Six Colors and Three Mutual Complemen- 


CATIES coo os ein aioe pie o sak o's wie sein pile slala a ote/s eipiete ene 96 
‘THIRTY-FOURTH Lesson: Six Colors and Four Mutual Complemen- 

TATIOS occ ee eke ee te oe sang seb ous lye) cel aie'e pila] e stn han 98 
THIRTY-FIFTH LEssoN: Six Colors and Five Mutual Complementaries. 100 
THirTY-sixTtH LessoN: Triads... 0.6. ..e0.s.050 des em ea 103 
"‘THIRTY-SEVENTH LESSON: Monochromes.............+sseececcereees 105 
THIRTY-EIGHTH Lesson: Still Life Painting.............4 +. eee 106 


CSLOSSARY. hc oes ial Sie ere be ae on orci eee @ s\0 ols) 8 ols dia 6 Salve etme eeet ee een amen Ilr 


PLATE ILLUSTRATIONS 


PLATE No. 1.—12-Color Spectrum in Colors, 

PLATE No. 2.—24-Color Spectrum in Colors. 

PLATE No. 3.—24-Color Spectrum—Names of Colors, 
PLate No. 4.—Mixing Chart in Red and Blue. 

PLATE No. 5.—Illustration of Palette in Black and White. 
PLaTE No. 6.—Black and White Illustration—Rabbits, etc. 
PLATE No. 7.—Brilliant Complementaries in Colors. 
PLATE No. 8.—Shadowgraphs in Black and White. 

PiaTe No. 9.—Black and White Illustrations, Houses, 
PLaTE No. 10.—Neutralized Complementaries in Color. 
PLATE No. 11.—Harmonies in Colors. 

PLATE No. 12.—Black and White Illustration, Boats. 
PLATE No. 13.—Black and White Illustration, People. 
Pate No. 14.—Split Complementaries in Colors, 

PLATE No. 15.—Diagram of Split Complementaries, Starting with Red. 
PiaTE No. 16.—Still Life. 


ix 





THE STUDY OF COLOR 
WITH LESSONS AND EXERCISES 


—_______. 


CHAPTER I 


“The difference between the artist and the scientist is 
that the artist is interested only in the rays of light which 
are visible to the human eye and the scientist is interested 
in the laws of light with all their invisible rays which he 
records with instruments; still, the principle of the law 
of nature is the same.” 

Sir Isaac Newton told us in 1667 that a beam of 
white light could be divided into three colors, and he 
called them red, yellow, and blue. The red that he men- 
tions was a color which is known in this system as scarlet. 

Later discoveries by Flelmholtz in 1866 proved that 
the three primary colors of the spectrum are red, green, 
and violet, from which all other colors are made. These 
colors he particularly mentions are French vermilion, 
emerald green, and spectrum violet. By combining the 
red and the green rays of light we get a sensation in our 
eyes which we call yellow. By combining the green and 
the violet rays we get a sensation of blue, and by com- 
bining the violet and the red rays we get a sensation of 
crimson. You cannot mix the colors of the rays of light 
in the same way that you mix paints because if you mix 


2 THE STUDY OF COLOR 


the three colors of the spectrum, red, green, and violet, 
with lights you make a white light, whereas, if you mix 
the three paints, red, green, and violet together you make 
a black paint. 

In this system the law of light and the law of pig- 
ments are made to coincide; although it is the same law 
they work like everything else in nature—by the law of 
opposites. 

The Law of Helmholtz is the law of direct light; 
the Law of Newton is the law of reflected light. If we 
changed the red of Newton, which is a scarlet, and made 
it crimson we could make both the Law of Newton and 
the Law of Helmholtz interchangeable. To repeat, if 
the three primary colors of light are thrown on to a screen 
at one time it will produce a white light; if the three 
primary colors are mixed together with paint it will pro- 
duce black paint. 

By using this knowledge we make up a spectrum circle 
and divide it in three equal parts, red, green, and violet, 
which we call the spectrum primaries, and in the alternate 
spaces between these colors, crimson, yellow, and blue, 
the true pigmentary primaries. In this way, one pig- 
mentary primary will be opposite to the spectrum primary. 
It is very important for you to know the true comple- 
mentary of each color so that you can mix these colors 
together, because if you do not mix the true complemen- 
tary, your colors will not be pure and you will get muddy 
grays. 

A combination of colors is also arrived at by the 
arrangement of the spectrum as illustrated (Plate 1), 





TWENTY-FOUR COLOR SPECTRUM 


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THE STUDY OF COLOR 3 


as by this arrangement harmonies, contrasts, and other 
combinations can be seen very quickly. These combina- 
tions are necessary to make beautiful designs for cloth 
or silk, or designs of any kind, and also for the making 
of beautiful portraits, landscapes, pottery, posters, and 
all works of art, even for the colors of dresses, or the 
decorating of our homes. There are a great many other 
uses to be made of this spectrum and the way it is ar- 
ranged. 

It must always be remembered that color is simply 
a reflection from some surface which has the power of 
sending back to our eyes one or more of the colored rays 
of light. We have all seen the rainbow or the beautiful 
colors that the sun casts on the floor or wall when the 
light goes through a beveled-glass window. If you look 
at this color band closely you will see distinctly the three 
colors of the spectrum and where they overlap the other 
three colors. Let us say that we see a piece of cloth 
which we call red. We remember that that particular 
red has the power to reflect the red ray of light only, 
and it will not reflect any of the other colors. You can 
try this by placing a red piece of cloth under a blue light 
or under a green light, and it will immediately look black 
because it cannot reflect any other ray of light but the 
red. If we take a violet article and place in a white light 
it looks violet, but if we place it under a red light it will 
not reflect, and looks black. If we take a yellow article 
and place it in a red light it will look red to us, and if 
we place it in a green light it will look green, and in a 
white light it will look yellow. This is because yellow 


4 THE STUDY OF COLOR 


can reflect both the red and the green light, and when 
both are reflected together it looks yellow, but if we place 
it in a violet light it will also look black because yellow 
cannot reflect anything but red and green, or yellow which 
of course is a combination of the red and green light 
together. Study the spectrum chart (Plate I) and 
memorize what colors are opposite to each other and 
you will understand that the colors that are so placed are 
called complementaries. A complementary color means 
that when two colors are mixed together with paint it 
would make a black or dark gray paint called neutral; 
and if two lights were thrown on a screen together it 
would look white. This, of course, is only in our eye 
because we have three sets of nerves which are sensitive 
only to red, green, and violet. When the red and the 
green are set in motion together we get a sensation of 
yellow, and when the green and the violet, we get a sensa- 
tion of blue, and when the violet and the red, a sensation 
of crimson. To prove this, if you will take a bright red 
glass and place as a lantern slide in a magic lantern and 
shine it on a white sheet and look at it for about five 
minutes, getting your eye full of the red light, and then 
suddenly turn off the red light, you will see the exact 
shape on the screen—only instead of red you will see this 
in its complementary color blue—that is, of course, if the 
red is a vermilion or red of our spectrum chart (Plate 
I). If you take a green piece of glass—that is, emerald 
green—and throw this on the screen and quickly turn out 
the light you will get the same image in crimson. If you 
take a violet glass this after image, as it is called, will 


THE STUDY OF COLOR 5 


be yellow. If you take a yellow glass the after image 
will be violet. If you take a crimson glass the after 
image will be green. If you take a blue glass the after 
image will be red—so you see that the complementary 
colors can be worked either with the spectrum primaries 
or the pigmentary primaries. 


CHAPTER 


If we look at the spectrum chart again we find that a 
spectrum primary is complementary to a pigmentary 
primary, and a pigmentary primary is complementary to 
a spectrum primary, so we say that any two primaries 
combined make a third primary complementary. In other 
words, if we divide the spectrum in thirds and bring them 
together again they are called complementaries because 
when they mix together they make a black paint or a white 
light. We therefore arrive at the following rule: To find 
out 1f a color is complementary mix the two together and 
if they form a perfectly neutral gray or black they are 
complementary. 

This is the only rule that we need to remember. 

The object is knowing this is two-fold. First, if we 
wish to make a red paint which is not so brilliant as the 
pure spectrum color, we only have to mix a little of its 
complementary. This would neutralize the color a little, 
and if we added a little more of its complementary we 
neutralize it still more. This is the same as if we took a 
brilliant piece of cloth and showed it in a brilliant light— 
the color would look very brilliant, whereas if we showed 
it in a light which was not so brilliant the color would 
become neutralized or would not be able to show so bril- 
liantly, and if put in a still darker place it would look still 

6 


THE STUDY OF COLOR 7 


more neutralized, but it would always be the same color, 
simply different shades or tones. The second reason why 
we wish to know the complementary colors is: If we put 
the two complementary colors side by side, on account 
of the contrast they both look more brilliant. 

The old idea that white reflected all colors and black 
absorbed them is a little misleading. It is true white has 
the power to reflect all rays of light. If we throw a white 
light on to a white cloth it will look white to us, and if we 
throw a red light on to a white cloth it will look red, and 
a blue light on to a white cloth will look blue, etc. This is 
because white has the power to reflect all the rays of light 
equally well, but if we throw a white light onto a black 
cloth, as it is not a good reflector, as is white, theoretically 
it will not reflect; but practically it will reflect a certain 
amount of the white light back to our eyes, depending on 
the kind of material which we use as the screen, because 
there is no such thing as a really imperfect reflector. The 
only place we can get a true black is in a dark room where 
there is no light at all, and then of course all colors includ- 
ing white look black because color is only a ray of light 
reflected back to our eyes, as so-called black paint is never 
black but always reflects some color, and therefore black 
paint would not lower the value perfectly as would the 
complementary of the color. 

If we mix white paint to any color we give it the power 
to reflect other rays of light besides the color which it 
originally reflected, because white will reflect all colors 
equally well. For example, if we take a brilliant red paint 
and mix white with it, it has the power to reflect the other 


8 THE STUDY OF COLOR 


two rays of light. This makes the paint look lighter in 
value, and we call it a tint. Now if we take one of the 
colors which has been neutralized with its complementary, 
and add white, we make a tint of that shade of color. By 
mixing these colors as above directed and as is shown on 
Plate IV, you will find you have twelve colors mixed with 
their complementary, which gives four different shades or 
tones of that color, and by mixing white with those shades 
or tones we get four different tints of each of those shades, 
or, in other words, sixteen different values of each color. 
If we had a 24-color spectrum as is shown on Plate II, 
we could have many more tints and shades or tones. 

It is the accepted custom to call the original color a 
hue. For example, red, orange, yellow, yellowgreen, 
green, bluegreen, blue, blueviolet, violet, purple, crimson, 
and scarlet are all hues, and if we mix a red with an 
orange we get an orange-red or red-orange, if we mix an 
orange with a yellow we get an orange-yellow or yellow- 
orange, and if we mix a yellow with a yellowgreen we get 
a yellowgreen-yellow or green-yellow. These are all 
called hues. | 

If we mix the complementary color with any one of 
these we get what we call shades or tones of that color. 

If we mix white with any one of these shades or tones 
of color we get the tints. 

By looking at Plate IV we see small letters and 
numbers at the side. ‘Tints are lettered A, B, C, and D, 
and the shades or tones are numbered 0, I, 2, 3, and 4. 
We notice that the brilliant color is both A and o whereas 
its first neutralization is 1A, its second neutralization 2A, 


ai 
us 
a 
+ 


PURPLE 





PLATE III 


10 THE STUDY OF COLOR 


its third neutralization 3A, and the fourth neutralization 
4A which is a dead neutral or black. We also notice that 
the oA is the brilliant color and the oB is the brilliant color 
with white added; or if we are painting with transparent 
water-colors we put less of the paint and more of the 
water, and the white of the paper shows through—this 
also gives us the tints. oC is still lighter, and oD is 
lighter still. 

No. 1 shade or tone of a color without white added 
would be 1A; with some white, 1B; with more white, 1C; 
and with still more white, 1D. Shade or tone No. 2 with 
_ white added gives you all the tints in B, C, and D as like- 
wise does No. 3 shade or tone. 

By this method we can designate an exact shade or 
tone and an exact tint of a color. For example, if we said 
Red oA it would mean a brilliant color; if we said Red 
1A it would mean that color with less light on it, or 
neutralized color; if we said 1B it would mean that same 
shade or tone with white added, or a tint of that shade or 
tone. You see by this method you can designate any shade 
or tone or any tint of any color. 


QUESTIONNAIRE 


. What is the spectrum? 

. What are the three colors of the spectrum? 
. What are the spectrum primaries? 

. What are the pigmentary primaries? 

Why are they called spectrum primaries? 

. Why are they called pigmentary primaries? 
. What is white light? 

. What is black? 


COM OM FWD 


THE STUDY OF COLOR we 


9. What is white? 

10. What is color? 

11. What are hues? 

12. What are shades or tones? 

13. What are tints? 

14. What makes us see color? 

15. Why does a color look neutralized ? 

16. Why do we mix colors to make them look neutralized? 

17. What are complementaries? 

18. What is the benefit of knowing what the complementaries 
are? 

19. What is an after-image? 

20. How can we make a color appear more brilliant? 

21. How can we make a color with less light on it? 

22. Why does adding white paint to a color make it less 
brilliant? 





FIRST SECTION 


epee ie he Spectrum. (2... ... 22.0 esac ccebacset 
Gee eeeon ) Color Mixing... 6... ee cee cee essen 
Third Lesson: One Color and One Complementary in 
Oe ee iets pote tie v se Ga de els Guide eins 
Fourth Lesson: —Itwo Colors and "Two Complementaries in 
EL ps AI lle ne 
Fifth Lesson: Three Colors and ‘Three Complementaries in 
ee MM ert cis ei yo op vein ao widele eh ale ats 
Sixth Lesson: Four Colors and Four Complementaries in 
eet eck Pe cscsc sp v-acele vs 400d o%elal elu ow ula kas 
Seventh Lesson: Five Colors and Five Complementaries in 
eM RU ee ea cy yea a baw) oo kl pee bclen lees 


13 


FIRST LESSON 


The Spectrum.—On chart No. 1, you will find a spectrum 
chart outlined in black and white. You are to color 
this the same as the printed color chart, Plate I. 
The best paints to use are opaque water-colors. A 
paint should be selected with very strong tinting 
power, mixed with an opaque substance which will 
not destroy its brilliancy. Many paint manufacturers 
put this paint up, and it is known as mat water-color 
or poster color. You will need a soft sable brush, 
about a No. 3, to do all these exercises. A china 
palette, or a plate can be used on which to mix these 
paints, and a small palette knife with which to mix 
colors. A very small quantity of paint should be 
placed on the palette to start this first lesson. 

Red.—Let us start with securing a red which should be a 
color known as vermilion. It is important that we 
get the most brilliant vermilion we can buy as other- 
wise we will not secure the full benefit of the lesson. 
Place a small quantity of this paint at the edge of 
the palette or plate with a palette knife, in the upper 
left-hand corner. 

Y ellow.—The nearest paint we can get to match this color 
of the spectrum is lemon chrome or pale cadmium. 
This should be placed on the palette about an inch 
and a half away from the red. 

14 










ia 










BLUE | 


LAYOUT OF PALETTE TO MAKE SPECTRUM AND CHARTS 81087 


BRILLIAN ah at NEUTRAL 
[a2 
en Eo al fe 
Nea T eie/4 
WHITE TO MAKE TINTS 


is 


{alk 20 apa Bea Rd 3 Fl 


ie a 
ie bey I PD les fy 4 


LAYOUT OF PALETTE TO MAKE COLOR MIXING SHES 


PLATE V 
15 


ORIGINAL 
MASS OF 
COLOR 



















ORIGINAL 
MASS OF 
COMPLE- 
MENTARY 


16 THE STUDY OF COLOR 


Green.—The nearest paint we can get to match this color 
of the spectrum is emerald green. This should be 
placed about an inch and a half away from the yel- 
low. You must be careful of this paint if it is a true 
emerald green as it is poisonous and must not be put 
in the mouth. Unfortunately we can get no other 
paint which will reproduce the color of the spectrum 
so truly as this poisonous pigment. It is not good to 
mix with other colors but will, if left by itself, stand 
very well. 

Blue.—The nearest paint we can get to match this color 
of the spectrum is a color known as cobalt blue. 
This should be placed in the lower left-hand corner 
opposite the red. 

Violet.—The nearest paint we can get to match this color 
of the spectrum is ultramarine violet. This should 
be placed about an inch and a half away from the 
blue, opposite the yellow. 

Crimson.—We can buy this paint under its own name or 
a color known as lac de gaence or rose malmaison. 
This should be put an inch and a half to the right of 
the violet. 


Now let us test to see if our colors are correct as far as 
we have gone. We have learned in a previous chapter 
that to find out if a color is complementary we must mix 
the two together and if they form a perfect neutral gray 
they are complementary. We see on the spectrum chart 
that the complementary of red is blue. So, if we take a 
little of the red on our brush, and then cleaning the brush 


THE STUDY OF COLOR 17 


before we dip into the blue, take a little of the blue and 
put beside it, mixing the two together, if it forms a perfect 
neutral gray we know that the blue is complementary to 
the red, or vice versa. If the mixture does not turn out 
to be a neutral and looks a little violet or purple we know 
that either the red tends toward the violet and is not a 
perfect red, or the blue has too much violet and is not a 
perfect blue. If the red tends toward the violet we can 
add a very little yellow and try again, or if the blue is too 
violet we can add a little viridian green (this green will 
be described a little later). It is very important that the 
resulting mixture of the red and the blue are an absolutely 
neutral color before we go ahead. 

Next, test the yellow with the violet. If the yellow 
and the violet are correct they will make a perfect neutral 
when mixed. If the mixture is a little green we know that 
the yellow has too much of a green cast or else the violet 
is too blue. To correct this we could add a little of the 
red to the yellow which would take away the green cast 
to it, or we could add a little crimson to the violet. If 
the mixture of these two colors looks brown, and you do 
not succeed in making a dead neutral, you will know that 
there is too much red in the yellow or too much crimson in 
the violet. | 

Next we will test the green and crimson. There 
should be no trouble with these two colors as they are sold 
under their names of emerald green and crimson, but if 
the mixture does not come neutral, and looks purple, we 
know the green has not enough yellow, or the crimson has 
too much violet. If the mixture is muddy we know that 


18 THE STUDY OF COLOR 


the green has too much yellow or the crimson has too 
much scarlet. By these three mixtures making the neutral 
we have tested the six colors of the spectrum. Another 
method would be, to secure the pigmentary primaries; to 
get a yellow which when mixed with crimson would make 
a good red and at the same time when mixed with blue 
will make a brilliant green. To secure a good crimson 
that will mix with the yellow and make a good red, at the 
same time when mixed with blue will make a good violet. 
To secure a good blue that will mix with the crimson and 
make a good violet, and at the same time when mixed with 
yellow will make a good green. Now let us make these 
colors or hues between the six principal colors: 


Orange.—Mix the red with the yellow until you have a 
shade between, known as orange, and put this in the 
space left between the red and the yellow. 

Yellowgreen.—Next let us mix the yellow with a viridian 
or emeraude green. We use this viridian or em- 
eraude in place of the emerald green on account of 
the unreliable qualities of the emerald green, and 
we can get a yellowgreen almost as brilliant and 
which will be much more permanent. Place this in 
the space left between the green and yellow. 

Bluegreen.—Next let us take the bluegreen-green which 
very often comes in the color known as emeraude, 
but if it is not blue enough let us add a little of the 
blue and place it between the green and blue on our 
palette. 

Blueviolet.—Next let us take a little of the blue and the 


THE STUDY OF COLOR 19 


violet and mix the two colors together to form a 
blueviolet. Place it between the blue and the violet, 
opposite the orange. This color can be bought with- 
out mixing and is called dark ultramarine blue, which 
sometimes needs a very little crimson or violet, as the 
color varies according to the manufacture. 
Purple.—Next let us make a purple with a mixture of the 
violet and crimson and place it in the space between 
the crimson and violet, opposite the yellowgreen. 
Scarlet.—Last let us make a scarlet with crimson and red 
and place this between the crimson and red, which 
should complete the spectrum on the palette. 


You should now test each of these colors with their 
complementary to find out if the mixture makes a perfect 
neutral gray. 

When you have succeeded in making these paints in 
the true colors of the spectrum on your palette, paint them 
into Chart 1 in their respective places. Put in the spec- 
trum primaries first, then the pigmentary primaries, and 
last, the hues between. These are designated on this chart - 
by their first initial. . 

It is necessary that you memorize the complementary 
colors before going further. 

You may now wash your palette and be ready for the 
next lesson. 


QUESTIONNAIRE 


1. What are the twelve colors of the spectrum? 
2. What are the twenty-four colors of the spectrum? 


3. What is red? 


20 THE STUDY OF COLOR 


. What is orange? 

. What is yellow? 
What is yellowgreen? 
What is green? 
What is bluegreen ? 

9. What is blue? 

10. What is blueviolet ? 

11. What is violet? 

12. What is purple? 

13. What is crimson? 

14. What is scarlet? 

15. Name the colors of the spectrum, starting with red and 
going around the spectrum like the hands of a clock. 

16. Name the colors of the spectrum, starting with red and 
going the reverse way of a clock, or, as it is known, counter- 
clockwise. 

17. How do we know if a color is complementary in paint? 


COON DNS 


SECOND LESSON 


Color Mixing.—Set your palette with two colors only, 
namely, red and blue. ‘The red should be placed in the 
upper left-hand corner, and the blue opposite in the lower 
left-hand corner. Be sure these two colors are comple- 
mentary by testing them in the same way as in the pre- 
vious lesson, putting out more paint than you used before. 
Lay out with your palette knife five batches of the red 
taken from the original quantity placed on the palette— 
just enough so that it will cover the tip of the palette knife. 
Cleaning the palette knife, take a very small quantity of 
blue and mix with the second lot of red until it neutralizes 
this red to about the same color that the brilliant red 
would look like if you shaded it from the light with your 





MICHEL JACOBS’S COLOR-MIXING CHARTS 


lhant 


1 


Br 


tl 


SS 





iant 


ill 


Br 


BLUE 


Q 
ix) 
fad 





Pirate [LV 








THE STUDY OF COLOR 21 


hand. Next mix a little more of the blue with the next 
lot of red until the shade becomes the same color as the 
last lot would look like if shaded from the light. Next 
mix a little more blue with the next lot of red so that it in 
turn will look a little more neutralized than the previous 
lot. The last lot of color mix with the blue until it makes 
a perfect neutral gray. This will give you one original 
lot of red at the top left-hand corner, besides a small lot 
of the same color slightly neutralized, another lot more 
neutralized, and still another lot still more neutralized, 
and a neutral. Paint these colors in the color-mixing 
charts No. 2 in their respective places on the top of the 
chart, namely, under the o place the brilliant red; under 
No. 1 the first neutralization; under No. 2 the second 
neutralization; under No. 3 the third neutralization; and 
under No. 4 the true neutral. After you have done this 
add white to the first brilliant color and place in the space 
marked B under 0. Now add white to all the other neu- 
tralized tones and continue through this B line. Next, 
cleaning the brush each time, add white again until you 
get line C, and likewise line D. This will complete your 
color-mixing chart on the left-hand side the same as is 
illustrated, Plate IV. 

It is now best to wash the palette off, leaving on the 
original lot of red and blue which we hope has not become 
fouled by putting in a dirty palette knife or brush. Now 
lay out the blue in four batches the same as we did in the 
red, but we would have no use for the fifth batch as that 
would make a neutral which we have already laid in. 
Neutralize each one of these blues in the same way. As 


Q2 THE STUDY OF COLOR 


the blue neutralizes very much quicker than the red you 


will need very much less of the red in the mixtures than. 


you did in the neutralized reds. Make the neutralized 
colors evenly divided as you did with the red. You can 
place these then in their respective place in the color- 
mixing chart (No. 2). After you have completed this 
chart No. 2 you will wash your palette, brushes, and 
knife, and start fresh on the next exercise. 

You will now mix an orange in the upper left-hand 
corner the same as we did with the red, making sure that 
this orange 1s the same color as in our spectrum chart, and 
in the lower left-hand corner, opposite, a batch of blue- 
violet—this also to be the same color as in the spectrum 
chart. You must test these two colors to see that they 
make a perfect neutral gray, in the same way as you did 
with the red and the blue. 

Now lay out five separate batches of color on the top 
of the palette, as you did with the red, and neutralize the 
second one with a very little of the blueviolet. Continue 
through the neutralized oranges to the neutral, as we did 
with the red, placing these in their respective place on the 
color mixing chart No. 3, which is marked orange and 
blueviolet, making the tints as we did with the red. Con- 
tinue through this with the blueviolet to complete the 
chart, as we did with the red and blue chart. 

We will continue now with making the yellow and 
violet chart No. 4 in the same way, and afterwards the 
yellowgreen and purple chart No. 5, the green and crim- 
son chart No. 6, and the bluegreen and scarlet chart 
No. 7. If you have been careful to get your gradations 


THE STUDY OF COLOR 23 


of color you will find that you have charts which lead 
gradually from the brilliant to the neutral and from the 
neutral back again to the brilliant, and the tints leading 
from the brilliant or strong neutralized color to the very 
pale tint. 

Looking at the chart after we have completed it you 
will notice again that there are letters and numbers. If 
we wish to designate accurately any color we can say that 
the red oA was as high a brilliancy that we could get, and 
that 1A would be that some color with less light on it, or, 
as we call it, neutralized, and if we add white we make the 
neutralized color tint which we can designate with a letter 
and anumber. You have sixteen different shades and tints 
to designate on each side of the chart. These colors have 
been called by different names from time to time and have 
been very confusing, so hereafter in this book we will 
designate each color, each shade of color, and each tint by 
a letter and a number which are called coordinates. For 
your guidance we write a few of the shades and tones of 
color with their coordinates, and placing along side of 
them the different names which they are generally called 
by. For example, Red oB, oC, oD, 1D, 2D, and 3D are 
known as pink; with this system of naming the letter and 
the number of a color we can tell which pink we mean. 
Another example—1A, 2A, and 3A are all known by 
different names such as English red, burnt sienna, and 
Vandyke brown. The tints of these colors cannot be 
described accurately in the old system, whereas in this 
system you can designate the exact shade or tint of a color. 
You will find in the glossary at the last of this book a list 


24 


THE STUDY OF COLOR 


of colors and how they can be designated more accurately 


by this system. Study the color-mixing charts with their 


shades and tints and make yourself familiar with how each 


color is mixed, and when you see color outdoors or indoors 


try to figure out how it would be made. In this way your 


eye and your mind will become trained to be able to mix 


the exact color that you wish without experimenting. 


QUESTIONNAIRE 


. How do we neutralize a color? 
. How do we make a tint? 

. What is meant by Red oA? 

. What is meant by Red 1A? 

. What is meant by Red oD? 


. Give an example of the same shade and same tint in two 


. Name all the shades of red in full strength, using a 


and numbers to designate them. 
the tints of each of these in the same manner. 


8. 
Q. 
. Name 
. Name 
. Name 
. Name 
. Name 
. Name 
. Name 
. Name 
. Name 
. Name 


Name 
Name 


all the shades 
all the shades 
all the shades 
all the shades 
all the shades 
all the shades 
all the shades 
all the shades 
all the shades 
all the shades 
all the shades 


of orange. 
of yellow. 
of yellowgreen. 
of green. 

of bluegreen. 
of blue. 

of blueviolet. 
of violet. 

of purple. 

of crimson. 
of scarlet. 





THE STUDY OF COLOR 25 


THIRD LESSON 
ONE CoLor AND ONE COMPLEMENTARY IN BRILLIANTS 


We have made our color-mixing charts, and now if 
we put the complementaries side by side it will make them 
both look more brilliant. Taking the chart No. 8 you will 
find a small design in the upper left-hand corner. You 
will draw five other designs in the blank spaces left on this 
chart, with a soft pencil, basing the ideas for your designs 
on the wild rose. 

Take any small flower and split it through the center 
with a sharp knife and you will find in the split half a very 
good idea for a design. ‘Then if we study each part of 
the flower and see how it is made we will get other forms. 
These should be made with both sides alike, or, as it is 
known, as a bi-symmetrical design. This can be done by 
a number of different ways, the simplest of which is to 
draw half a design on a thin piece of paper, with pencil, 
folding the paper over and rubbing with the fingernail 
or bowl of a spoon on the side of the drawing until it rubs 
off on the other side. By opening the paper you will find 
that you have a design with both sides alike. This is the 
way bi-symmetrical designs are done in the practical ap- 
plied arts. It would be a good idea if you would make a 
few naturalistic drawings of the flower to get an idea of 
how it is constructed, drawing some from the face, some in 
profile, and some with the back. Also draw the leaves 
and stem; see how the flower and leaves join the stem. 


26 THE STUDY OF COLOR 


See how the leaves interweave one with the other. See 
how the light falls on the flower, and what the form is 
between the shadow and the light. It is good not to watch 
for the halftones, but just the strong light and the strong 
shadows. Take each individual petal and see the design 
of the veining, and forms in the petal itself. Do the same 
with the leaf. The back of a leaf very often has a great 
many designs that cannot be seen on the front. Look at 
the pistil, stamen, calix; in fact, examine every part of the 
flower, first with its entire form with the light on it, and 
then, plucking it apart, watch for other designs. You 
should be able to get about four or five hundred designs 
from every flower. Be sure that your design covers the 
entire space on the chart. Another way to get a design 
would be to take a small piece of tissue paper about four 
inches by one inch, and twist the end and fray so as to 
make some kind of a grotesque form. Cast a shadow with 
this on to a piece of paper about two inches square. ‘This 
can be done best in front of a window or under a lamp or 
electric light. Outline this shadow with a soft lead pencil, 
as is demonstrated on Plate VIII. Fold this paper and 
transfer this design on to the other half of the paper by 
rubbing on the back with your fingernail or bowl of a 
spoon. 

Before making designs on charts No. 8 and No. 9 it 
is well for the student to make numbers of different de- 
signs on other sheets of paper, until he becomes proficient 
and the designs have real merit. 

By putting one color and one complementary next to 
each other we use one complete spectrum. We have 


IA ILv1g 





BRILLIANT COMPLEMENTARIES 





One color and one complementary ‘Two colors and two complementaries 
ast Red Pia Red and Orange 
8: " Blue &.” Blue and Blue-violet 
Three colors and three complementaries Four colors and four complementaries 
ee Red, Orange, Yellow Ee Red, Orange, Yellow, Yellow-green 
Fig. 3 ; 1 Fig. 4 * Ye aed 
~ Blue, Blue-violet, Violet Blue, Blue-violet, Violet, Purple 


Five colors and five complementaries 
Red, Orange, Yellow, Yellow-green, Green 
Blue, Blue-violet, Violet, Purple, Crimson 


Pirate VII 


Fig. 5 


SHdVYOMOGVHS AAVIT OL MOB— IITA ALVId 


| NUALLVd GarmdWoo : 
| 4 SSB MOQVHS ZHIUNO f 





<> ae NmMog sny 
GES 





OGWHS V MOYHL OL QUISIML YadVd 30 303Id V 


SD i 


28 THE STUDY OF COLOR 


learned in the first chapter that the spectrum is made up 
of three colors, and by the combination of any two of 
these we make six colors which are known as spectrum 
primaries and pigmentary primaries, and we have also 
learned that the pigmentary primaries are complementary 
to the spectrum primaries, or vice versa. For example, 
if we have a red paint we know that this uses up one-third 
of the spectrum, and if we take the green ray of light with 
the violet ray of light we get a sensation of blue, so we see 
that blue is complementary to the other primary, red. 
Likewise, if we take the green paint and wish to find the 
complementary we must mix the two other rays of light, 
which are violet and red, which would give us a sensation 
of crimson, so that we say that crimson is the comple- 
mentary of green, and vice versa, and if we take a violet 
paint we would have to take the rest of the spectrum, 
which is red and green, which would give us a sensation 
of yellow, so that yellow is the complementary of violet. 
If any of these complementaries are put side by side 
we have completed one spectrum, and the sensation is 
pleasing. Now if we take an orange paint which contains 
all of the red rays and very little of the green rays, the 
complementary of this color to complete one spectrum 
would be blueviolet because blueviolet has all the violet 
rays and the balance of the green rays which we did not 
use with the orange. The same as if we had one apple 
and divided it in three equal parts: If we wish to make 
a division of two parts only we would have to take part 
of one of the thirds of the apple and add it to the other 
third. If we took a greater portion of the third of the 


THE STUDY OF COLOR 29 


apple to add to one of the thirds we would have less of 
that third to add to the other portion, but we would 
always have one apple. We can divide these three equal 
parts in greater or lesser portions, but always having only 
one apple—and so with complementaries. 

Continuing with the colors between the three spectrum 
primaries and the three pigmentary primaries, the yellow- 
green would be complementary to purple because yellow- 
green is made of all of the green rays and a very little of 
the red rays, and it is complementary to purple because 
purple contains all the violet rays and the balance of the 
red rays which we did not use in the yellowgreen. The 
bluegreen is complementary to scarlet because bluegreen 
contains all the green rays and a very little of the violet 
rays, and the scarlet contains all the red rays and the 
balance of the violet rays which we did not use in the 
' bluegreen. You see, we have had only one spectrum, 
dividing it up in different proportions, and when we bring 
them together in a design the effect is pleasing to our eye 
because we have used one completed unit. Of course, this 
is all based on light, but that is the way we sce color, if 
you will remember the way it was explained in the previous 
chapters. 

The student should also try to make some of the de- 
signs with the one color predominating. For example, the 
one design could be with the red in large masses and the 
blue in small masses; in other words, it would be a red 
design which has a little blue. Then other designs could 
be made with more blue than the red, and still other 
designs with even proportions of red and blue. There 


30 


THE STUDY OF COLOR 


should be very little white space left, only that which 1s 


between each color on some designs, and on others leaving 


a little more or a little less white spaces, using the white 


of the paper to form a design with the red and the blue. 
This should be done with all the other color combinations 
in single complementaries. 


I. 
2. 
3. 


QUESTIONNAIRE 


Name each color of the spectrum with its complementary. 
What is meant by one color and one complementary? 
What part, or how many spectrums, did we use in making 


this combination ? 


4. 
5. 
6. 
it 
8. 


What makes a color look more brilliant? 

How can we divide one complete spectrum ? 

If we divide it in two what do we make? 

Do we always have to divide the spectrum in halves? 
Give an example as to how you can divide the spectrum, 


using some other object as an example. 


9. 
10. 
II. 
12) 
13. 
14. 
15. 
16. 
17. 


What is an “after image”? 

What is the color of the “after image’’? 

Give examples of one color and one complementary. 

Is red complementary to green or to blue? 

Is yellowgreen complementary to purple or to crimson? 
Is green complementary to crimson or to purple? 

What is the difference between crimson and purple? 
What is the difference between purple and violet? 
What is the difference between yellowgreen, green, and 


bluegreen ? 


18. 


What is the difference between blue and blueviolet ? 


THE STUDY OF COLOR 31 


FOURTH LESSON 
Two CoLtors aND Two CoMPLEMENTARIES IN BrRILLIANTS 


We now start to make a color combination with four 
colors which we call two colors and two complementaries. 

Two colors and two complementaries means that we 
have taken two distinct spectrums. We can divide these 
up any way we wish as long as we always keep the two 
spectrums like we did in the one color and one comple- 
mentary. We can divide one spectrum up into two equal 
parts and we can divide the other one up into two equal 
parts. This is what we call two colors and two comple- 
mentaries. 

Looking at chart No. ro you will find another design 
already drawn which is based on a conventionalization of 
the violet. Taking the violet the same as we did with the 
wild rose in the previous lesson, cutting it through, we will 
get one side of the design which we can duplicate in the 
same manner as we did in the previous lesson, and likewise 
as we did in the previous lesson we should make a number 
of separate papers, making different designs, and color 
them with the large masses and the small masses, only this 
time we use two colors and two complementaries, the first 
design being made in red and orange with blue and blue- 
violet. We can make two large masses equally divided 
in red and orange, and smaller masses in their comple- 
mentaries of blue and blueviolet, or vice versa. For ex- 
ample, we can make the background a blue, and the design 


32 THE STUDY OF COLOR 


both in the red and orange with small parts of blueviolet, 
or we could reverse this order. After you have succeeded 
in making designs which you think worthy draw them in 
the book in the empty spaces, and color all six designs 
including the one which is already printed there, as fol- 
lows: 


. Red and orange with blue and blueviolet. 

. Orange and yellow with blueviolet and violet. 

. Yellow and yellowgreen with violet and purple. 
. Yellowgreen and green with purple and crimson. 
. Green and bluegreen with crimson and scarlet. 

. Bluegreen and blue with scarlet and red. 


Nm BR W HD & 


You will see that you have not repeated any color 
combination; although you have used some of the colors 
twice, the combination is different. 

Exercises should be done in some of the colors of the 
24-color spectrum chart. For example, one design in red 
and red-orange, the latter a color between red and orange, 
and their complementaries blue and violet-blue, which is a 
color between blueviolet and blue. In this way you would 
be able to get twelve distinct color combinations instead of 
six designs as in the 12-color spectrum. 


QUESTIONNAIRE 


1. What is two colors and two complementaries? 

2. How many spectrums did we use in making two colors and 
two complementaries ? } 

3. Give an example of two colors and two complementaries. 

4. Give an example of two colors and two complementaries, 
having one color blue. 


THE STUDY OF COLOR 33 


5. Give an example of two colors and two complementaries, 
having one color red. 

6. Give an example of two colors and two complementaries, 
having one color yellow. 

7. Give an example of two colors and two complementaries, 
having one color crimson. 

8. Why are two complementaries pleasing to the eye? 


FIFTH LESSON 
TTHREE CoLors AND THREE COMPLEMENTARIES IN BRILLIANTS 


This lesson is a continuation of brilliant color com- 
plementaries, only this time instead of using two colors 
and two complementaries, or four colors, we make the 
designs in three colors and three complementaries, or six 
colors. ‘This is the same as if we were using three spec- 
trums—we divide each spectrum into two parts. 

You will find a design on chart No. 12 which is a con- 
ventionalization of a daisy. It is not necessary to make 
this conventional design look like a daisy, but the different 
parts can be used to make a design. Certain parts can be 
made from the petals, certain parts from the leaves, and 
certain parts from the center or circle. We should make 
many designs before putting them in the book, the same as 
we did in the previous lesson, and color them with different 
masses of color to get the effect, and also try out the 
24-color spectrum as we did in the previous lessons. The 
designs are to be colored as follows: 

1. Red, orange, and yellow with blue, blueviolet, and violet. 


2. Orange, yellow, and yellowgreen with blueviolet, violet, and 
purple. 


34 THE STUDY OF COLOR 


3. Yellow, yellowgreen, and green with violet, purple, and 
crimson. 

4. Yellowgreen, green, and bluegreen with purple, crimson, 
and scarlet. 

5. Green, bluegreen, and blue with crimson, scarlet, and red. 

6. Bluegreen, blue, and blueviolet with scarlet, red, and orange. 


Here again you see we have made six designs without 
repeating any of the color combinations, and still have 
used some single colors three times. 

By using the 24-color spectrum we can make twelve 
designs without repeating any of the color combinations, 
although we might use each separate color twelve different 
times. 


QUESTIONNAIRE 


1. What is three colors and three complementaries ? 

2. How many spectrums do we use in three colors and three 
complementaries? 

3. Give an example of three colors and three complementaries. 

4. Give an example of three colors and three complementaries, 
one color of which will be red. 

5. Give an example of three colors and three complementaries, 
one color of which will be green. 

6. Give an example of three colors and three complementaries, 
one color of which will be blue. 

7. Give an example of three colors and three complementaries, 
one color of which will be purple. 

8. Can we make any more color combinations than with the 
12-color spectrum chart? 

g. Give an example of three colors and three complementaries, 
one color of which is red-orange. | 

10. Give an example of three colors and three complementaries, 
one color of which is scarlet-red. 
11. Give an example of three colors and three complementaries, 

one color of which is green-blue. 


THE STUDY OF COLOR 35 


SIXTH LESSON 
Four CoLors AND Four COMPLEMENTARIES IN BRILLIANTS 


We now make a color combination with eight colors, 
or four colors and four complementaries. ‘This is the 
same as if we used four separate spectrums and divided 
them each into four equal parts. This time we take as 
our means of inspiration to make the conventional design 
the buttercup. We should examine this flower closely as 
it is a very simple flower, and splitting it in half like we 
did in the previous lesson will not give us very many ideas 
of a design, but by watching the way it grows on the stem, 
and even using the complete plant as a means of decora- 
tion, as you see has been done with the design printed on 
chart No. 14, you will get many ideas. Again, we should 
make numbers of separate papers so that when our designs 
are put in the book they will be something which we wish 
to preserve, as we may want to use these designs for 
screens, lamp shades, or other things with which we deco- 
rate our homes. 

Instead of putting in these colors flat as we did in the 
previous lessons, they should be put in with a texture, as 
you will see demonstrated in Fig. 5, Plate VII. Some- 
times we can make a cross-line background, sometimes we 
can make a dotted background, sometimes we can make a 
basket-weave background, and sometimes a diagonal back- 
ground, etc. This will give you what we call texture. 
Each time you may leave a very little of the white paper 


36 THE STUDY OF COLOR 


show through, but of course at no time should you use 
white paint, as the color must be always brilliant. The 
conventionalized flower may be put in solid; by contrast 
with the solid masses against the open-work background it 
will give you depth. 

You will be particularly careful to get the arrangement 
of space pleasing to the eye, for instance, if you have a 
small flower you must not leave too large a space empty. 
Do not put your design in the center, but try to find a place 
a little less than two-thirds to one side; this is called the 
artistic center in a different form of composition than 
bi-symmetrical, and the exact spot where to place this will 
be explained to you in future lessons. Do not leave the 
background entirely white, and if necessary repeat the 
same color that you used on the background on the design 
itself. The designs should be colored as follows: 


1. Red, orange, yellow, yellowgreen with blue, blueviolet, 
violet, purple. 

2. Orange, yellow, yellowgreen, green with blueviolet, violet, 
purple, crimson. 

3. Yellow, yellowgreen, green, bluegreen with violet, purple, 
crimson, scarlet. 

4. Yellowgreen, green, bluegreen, blue with purple, crimson, 
scarlet, red. 

5. Green, bluegreen, blue, blueviolet with crimson, scarlet, 
red, orange. 

6. Bluegreen, blue, blueviolet, violet with scarlet, red, orange, 
yellow. 


Here again you will see that we have made six sep- 
arate designs, none of which repeat the same color com- 
binations, although we have used some of the colors four 


THE STUDY OF COLOR 37 


times. Exercises should be done in some of the colors of 
the 24-color spectrum chart the same way as we did in the 
previous lessons. In this way we would be able to get 
twelve designs without repeating any of the color combina- 
tions, although we might use each separate color twelve 
different times. 


QUESTIONNAIRE 


1. What is four colors and four complementaries ? 

2. How many spectrums do we use in making four colors 
and four complementaries? 

3. Give an example of four colors and four complementaries, 
one color of which is red. 

4. Give an example of four colors and four complementaries, 
one color of which is blue. 

5. Give an example of four colors and four complementaries, 
one color of which is green. 

6. Give an example of four colors and four complementaries, 
one color of which is crimson. 

7. Give an example of four colors and four complementaries, 
one color of which is blueviolet. » 

8. Give four examples of four colors and four complemen- 
taries, using the colors from the 24-color spectrum chart. 


SEVENTH LESSON 
Five CoLors AND FIVE CoMPLEMENTARIES IN BRILLIANTS 


This combination of colors is the last of the brilliant 
complementaries and is called five colors and five comple- 
mentaries. Again referring to Plate I, if you take 
the colors, red, orange, yellow, yellowgreen, and green 


58 THE STUDY OF COLOR 


you will have five colors and their complementaries which 
would make what is known as fives and fives. Referring 
to chart 16 you will find a design in a more or less con- 
ventionalized form of a lily. This is very similar to the 
four complementaries, and should be colored in the same 
way, trying to get different textures or handling, as is 
explained in the previous lesson. This time instead of get- 
ting the flower in a flat tone it is good to try to model the 
flower by leaving some of the white paper, which means 
that you should paint your design in such a way that the 
white of the paper would show through and help you in 
getting the design. If you refer to Plate VII you will see 
this carried out in color. The background may be either 
solid or open-work; if the flower has a great deal of the 
white paper showing do not leave as much in the back- 
ground because the white of the paper would attract more 
attention than the design itself. 

For the advanced student you can use a conventional- 
ized landscape or figure composition as is shown on Plate 
VI. 

Again make the five extra designs to be put on Chart 
16, first making a number of designs on extra sheets 
before entering in the book, and color all six designs, 
including the one which is already printed there, as fol- 
lows: 


1. Red, orange, yellow, yellowgreen, green with blue, blue- 
violet, violet, purple, crimson. 

2. Orange, yellow, yellowgreen, green, bluegreen with blue- 
violet, violet, purple, crimson, scarlet. 

3. Yellow, yellowgreen, green, bluegreen, blue with violet, 
purple, crimson, scarlet, red. 


THE STUDY OF COLOR 39 


4. Yellowgreen, green, bluegreen, blue, blueviolet with 
purple, crimson, scarlet, red, orange. 

5. Green, bluegreen, blue, blueviolet, violet with crimson, 
scarlet, red, orange, yellow. 

6. Bluegreen, blue, blueviolet, violet, purple with scarlet, red, 
orange, yellow, yellowgreen. 


Again you will see that you have six different color 
combinations without repeating any of them. Exercises 
should also be done in the 24-color spectrum in the same 
way as in the previous lesson. 

In doing this exercise it is well to do some designs with 
the colors that are in analogous harmony together, for 
example, red, orange, yellow, yellowgreen, green in the 
order in which they are named, the parts of the design 
next to each other. For example, the flower might be 
done in these colors. The background could be done in 
the complementaries, keeping the harmonies together. 

Also other designs should be done in putting the com- 
plementaries together. For example, the background 
could be made with red and blue, orange and blueviolet, 
and the flower done with yellow and violet, yellowgreen 
and purple, green and crimson. In this way you will get 
a very good idea of the possibilities of the arrangement 
of colors and the effect which you get from them. 

In the first set of designs, putting the harmonies to- 
gether the sensation is much more restful, while putting 
the complementaries side by side the effect is very much 
more brilliant and turbulent. 


40 THE STUDY OF COLOR 


QUESTIONNAIRE 


1. What is five colors and five complementaries? 

2. How many spectrums do you use in making five colors 
and five complementaries. 

3. Give an example of five colors and five complementaries, 
one color of which is orange. 

4. Give an example of five colors and five complementaries, 
one color of which is blueviolet. 

5. Give an example of five colors and five complementaries, 
one color of which is bluegreen. 

6. Give an example of five colors and five complementaries, 
one color of which is scarlet. 

7. Give an example of five colors and five complementaries, 
one color of which is yellow. 

8. Give an example of five colors and five complementaries, 
using the colors from the 24-color spectrum chart. 


X] JLV1g 





NEUTRALIZED COMPLEMENTARIES 





Two colors and two complementaries 
red, orange 


blue, blue-violet 





Three colors and three complementaries 
red, orange, yellow 


blue, blue-violet, violet 


Pirate X 





SECOND SECTION 


Eighth Lesson: One Color and One Complementary in 


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Eleventh Lesson: Four Colors and Four Complementaries in 
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Twelfth Lesson: Five Colors and Five Complementaries in 
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Thirteenth Lesson: Three Colors in Analogous Harmony, 
MN se. cis Sea cass bv eeceke one o's 
Fourteenth Lesson: Four Colors in Analogous Harmony, 
UUM te fel a oy nic ees Sis a vib-eteg wae acetat 
Fifteenth Lesson: Five Colors in Analogous Harmony, 
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Sixteenth Lesson: Six Colors in Analogous Harmony, 
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Seventeenth Lesson: Three Colors in Analogous Harmony, 
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Eighteenth Lesson: Four Colors in Analogous Harmony, 
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Nineteenth Lesson: Five Colors in Analogous Harmony, 
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Twentieth Lesson: Six Colors in Analogous Harmony, 
EMMI Oo cle gS Sek le sp gk eido © ccs esse ba eae 


41 


42 


45 


EIGHTH LESSON 


One CoLok AND ONE COMPLEMENTARY IN NEUTRALIZD 
‘TONES AND ‘TINTS 


We now come to the part of color study where our 
colors are more subdued, using neutralized colors or pastel 
tints. Many people prefer gray colors to brilliant colors, 
and for certain purposes undoubtedly the gray or neutral- 
ized colors are much more adaptable; however, there are 
times when we really need spots of color that are more 
brilliant. We never hesitate in putting a brilliant bowl 
of flowers on the table, but we sometimes hesitate in put- 
ting a brilliant picture on the wall; still, if everything ts in 
keeping the brilliant color has a very exhilarating effect. 

We have learned from our color-mixing chart in the 
Second Lesson that we can neutralize any color by adding 
its complementary and getting the tint of that shade or 
tone by adding white. Taking the design that is on chart 
No. 18, which is a conventionalized landscape, we draw 
five more designs using some of the ideas which are illus- 
trated on Plate IX. It is not good to keep these designs 
exactly, but to originate from them, taking the trees and 
using them in our own compositions. 

We can now get what we call values in our landscape 
because the more we neutralize each color the more it will 
recede; adding white also makes a color recede. Look- 

42 


THE STUDY OF COLOR 43 


ing at the color-mixing charts you will find that the 
brilliant color oA advances and attracts our eye more 
than any other color on the chart. You will also notice 
that the shades known as oB and 1A recede in the same 
degree; you will also notice that the colors known as oC, 
1B, and 2A recede in the same degree. Now you will also 
notice that oD, 1C, 2B, and 3A recede in the same degree, 
and likewise 1D, 2C, and 3B recede in the same degree, 
and 2D and 3C recede in the same degree. 3D is the 
one tint of a shade which receded further than any other. 
The dead neutral of any color in all its tints, if used with 
a brilliant color, will make that neutral look like its com- 
plementary. This is on account of our eyes seeing what 
we call the after image, as was explained in a previous 
chapter. Instead of the brilliant if the color is neutral- 
ized, however, the less will this effect be noted. While 
_ studying color it is not a good idea to use this dead neutral, 
but after the eye has become trained to see color these 
grays or neutralized colors make some very pleasing 
effects with brilliant colors. 

After making a number of drawings on the order of 
the one illustrated, and filling in the blank spaces on 
chart No. 18, you will color the first design in red and 
biue only. This time you may mix some of the com- 
plementary color with the red, trying to get three dif- 
ferent values, for example, 1A, 2A, and 3A, not using the 
brilliant tone at all. You will do the same with the blue 
that you use. In using these shades the foreground should 
be painted in 1A, the middle distance in 2A, and the dis- 
tance in 3A. This will give you depth. 


4A THE STUDY OF COLOR 


Color the designs as follows: 


. Red and blue. 

. Orange and blueviolet. 
Yellow and violet. 
Yellowgreen and purple. 
. Green and crimson. 

. Bluegreen and scarlet. 


Ai WD 


Another set of designs which can be a repeat of the 
ones already used should be colored in the B line, 1, 2, 
and 3, another set of designs in the C line, 1, 2, and 3, 
and another set of designs in the D line, 1, 2, and 3. By 
repeating the same designs you can make the different 
shades and tints on each page. This will show you the 
entirely different effect that can be gotten by using the 
neutralized color and the tint. 

You can also use the 24-color spectrum in the same 
way, getting all the different shades and tones with the 
twenty-four colors instead of with just twelve. 


QUESTIONNAIRE 


. What is a neutralized color? 
. How do we know if a color is complementary ? 
. How do we make a shade? 
. How do we make a tint? 
5. How many spectrums do we use when we have one color 
and one complementary in neutralized tones? 
6. What does white do to a color? 
7. How do we get the values? 
8. How do we get a color to recede? 


be WwW NN & 


THE STUDY OF COLOR 45 


NINTH LESSON 


Two CoLors AND Two CoMPLEMENTARIES IN NEUTRALIZED 
‘TONES AND TINTS 


We now continue with the exercises in grayed or neu- 
tralized colors in the same way that we did with the bril- 
liant colors, taking two colors and two complementaries 
in gray. Ass is explained in a previous chapter, using two 
colors and two complementaries is the same as using two 
spectrums. Now if you can imagine taking these two spec- 
trums and having parts of the spectrum combined with 
less light on, and some parts with more light on, you will 
have an idea of what two colors and two complementaries 
in gray mean. This lesson should be done in conventional- 
ized landscape as is demonstrated in the upper left-hand 
corner on chart No. 20. You are to make five more land- 
scapes on this page, using some of the elements as shown 
on Plate XII. 

You will also make numbers of other extra sheets with 
conventionalized landscapes, as you did in the previous 
lesson, repeating the same design in all six spaces. 

Color these designs, the first one in the brilliant color 
which is 0A, and using oB, oC, and oD in the same design. 
Each spot of color should be put on separately and not 
shaded or blended on the paper. Each little spot of hue, 
tint, or tone should be put on like a mosaic. 

Color the designs as follows: 


1. Red and orange with blue and blueviolet. 
2. Orange and yellow with blueviolet and violet. 


46 THE STUDY OF COLOR 


3. Yellow and yellowgreen with violet and purple. 
4. Yellowgreen and green with purple and crimson. 
5. Green and bluegreen with crimson and scarlet. 
6. Bluegreen and blue with scarlet and red. 


All of these colors, as is explained above, should be 
put in with their gradations in the tints of the brilliant 
color. 

Another chart on which you have drawn another de- 
sign repeated six times you will color on 1—A, B, C, and 
and D. Another set of designs you will color in 3—A, 
BaGyande: 

You will understand that it is possible to color the 
ones and ones in the same way as we have just done with 
the two colors and two complementaries, or to color the 
two colors and two complementaries the way we did with 
the one color and one complementary, using the tints and 
tones either across the color-mixing chart, or down. 

You can also use the 24-color spectrum as you did 
in the previous lessons, getting all the different shades 
and tones with the twenty-four colors instead of with 


just twelve. 


QUESTIONNAIRE 


1. How many spectrums do we use when we have two colors 
and two complementaries in neutralized tones? 

2. What happens to a color when we neutralize it? 

3. What kind of a color advances the most? 

4. In what order does the neutralized color recede? 

5. Name a set of shades which recede one further than the 
other. 

6. How do we get depth? 


THE STUDY OF COLOR 47 


TENTH LESSON 


‘THREE COLORS AND THREE COMPLEMENTARIES IN NEUTRAL- 
IZED TONES AND [TINTS 


Continuing our exercises in the grayed complemen- 
taries we will again make five more designs to fill in the 
chart No. 22 with conventionalized landscapes, again get- 
ting our idea from Plate IX, and making extra sheets as 
we did before. 


Exercises in the book should be colored as follows: 


1. Red, orange, yellow with blue, blueviolet, violet. 

2. Orange, yellow, yellowgreen with blueviolet, violet, purple. 

3. Yellow, yellowgreen, green with violet, purple, crimson. 

4. Yellowgreen, green, bluegreen with purple, crimson, 
scarlet. 


5. Green, bluegreen, blue with crimson, scarlet, red. 
6. Bluegreen, blue, blueviolet with scarlet, red, orange. 


All of these colors should be neutralized, or, using the 
tints, one side of charts being colored with oA, 1B, 2C, 
and 3D, which is taking the diagonal of the color-mixing 
chart. 

As was explained before, the brilliant or oA color is 
the most advancing and the 3D is the most receding, so 
you can see by using these colors in the diagonal as we 
have done, we make the 3D in distance and the oA or bril- 
liant color in the foreground. Another set of charts can 
be made using 1A, 2B, and 3C. Another set of charts 
can be made using oB, 1C, and 2D. | 


48 THE STUDY OF COLOR 


You can also use the 24-color spectrum as you did in 
the previous lessons, getting all the different shades and 
tones with the twenty-four colors instead of with just 
twelve. 


QUESTIONNAIRE 


1. What is meant by three colors and three complementaries 
in neutralized tones? 

2. How many spectrums do we use in three colors and three 
complementaries in neutralized tones? 

3. Give an example of three colors and three complemen- 
taries, keeping all tones in the B line. 

4. Give an example of three colors and three complemen- 
taries, keeping all tones in the C line. 

5. Give an example of three colors and three complemen- 
taries, keeping all tones in the D line. 

6. What other way can we make three colors and three com- 
plementaries neutralized so that the colors recede? 

7. Give an example of three colors and three complementaries 
with the colors advancing. 

8. What would be the most advancing color combination ? 


ELEVENTH LESSON 


Four CoLtors AND Four COMPLEMENTARIES IN NEUTRALIZED 
‘TONES AND ‘TINTS 


Again taking up the study of neutralized complemen- 
taries—this time we are taking eight colors, or, as it is 
known, four colors and four complementaries. ‘There 
should be no trouble now in understanding the way these 
charts are to be colored. You can make extra charts 
other than are in the book to try out different color com- 


. 


HARMONIES IN GRAYS 





4 colors 





Six colors—yellow, yellow-green, green, blue-green, blue, blue violet 


PLare XI 








IIX dLv1g 





THE STUDY OF COLOR 49 


binations. After drawing in the designs in the empty 
spaces left in chart No. 24, and making the extra charts, 
you will color the designs as follows: 


1. Red, orange, yellow, yellowgreen with blue, blueviolet, 
violet, purple. 

2. Orange, yellow, yellowgreen, green with blueviolet, violet, 
purple, crimson. 

3. Yellow, yellowgreen, green, bluegreen with violet, purple, 
crimson, scarlet. 


4. Yellowgreen, green, bluegreen, blue with purple, crimson, 
scarlet, red. 

5. Green, bluegreen, blue, blueviolet with crimson, scarlet, 
red, orange. 

6. Bluegreen, blue, blueviolet, violet with scarlet, red, orange, 
yellow. 


You will make these in the following gradations: One 
set of charts in 3A, 2B, 1C, and oD. Another set of 
designs in 2A, 1B, and oC. Another set in 3B, 2C, and 
1D. This takes the diagonal in the opposite way that 
we did in the previous lesson, but of course it is under- 
stood that you can make either one color and one com- 
plementary, two colors and two complementaries, or three 
colors and three complementaries in any one of these 
directions with the tints and shades, the examples given 
here simply showing the possibilities as we advance, in 
the number of colors, taking up the neutralizing in differ- 
ent methods. You can also use the 24-color spectrum in 
the same way as you did in the previous lessons, getting 
all the different shades and tones with the twenty-four 
colors instead of with just twelve. 


50 THE STUDY OF COLOR 


QUESTIONNAIRE 


1. Give an example of four colors and four complementaries 
in neutralized tones using all colors in No. 1 shade. 

2. Give an example of four colors and four complementaries 
in neutralized tones using No. 2 shade. 

3. Give an example of four colors and four complementaries 
in neutralized tones using No. 3 shade. 

4. Give an example of four colors and four complementaries, 
each color with a different number and letter. 

5. Give an example of four colors and four complementaries 
using the diagonal in color-mixing chart. 

6. Give an example of four colors and four complementaries 
using the 24-color spectrum chart. 


TWELFTH LESSON 


FivE Coors AND FIVE COMPLEMENTARIES IN NEUTRALIZED 
TONES AND TINTS 


This is the last of the color complementaries in neu- 
tralized or grayed colors. Again making the designs in 
the spaces left on chart No. 26, and making extra charts 
as before directed, you will color these as follows: 


1. Red, orange, yellow, yellowgreen, green with blue, blue- 
violet, violet, purple, crimson. 

2. Orange, yellow, yellowgreen, green, bluegreen with blue- 
violet, violet, purple, crimson, scarlet. 

3. Yellow, yellowgreen, green, bluegreen, blue with violet, 
purple, crimson, scarlet, red. 

4. Yellowgreen, green, bluegreen, blue, blueviolet with 
purple, crimson, scarlet, red, orange. 


THE STUDY OF COLOR 51 


5. Green, bluegreen, blue, blueviolet, violet with crimson, 
scarlet, red, orange, yellow. 

6. Bluegreen, blue, blueviolet, violet, purple with scarlet, red, 
orange, yellow, yellowgreen. 


You will color one set of charts using oA or brilliant 
color with 1A and 2B. Another set of charts using 3D 
with 3C and 2D. Another set of charts should be colored 
in 3A, 3B, oA, and oB. Another set of designs should 
be colored in 3A and 2A with 3D and 2D. You can also 
use the 24-color spectrum in the same way as you did in 
the previous lessons, getting all the different shades and 
tones with the twenty-four colors instead of with just 
twelve. 

This will give you a chance to show large masses of 
light against dark shadows. Many more values in the 
tints and shades can be made, but the student can easily 
grasp now the possibilities of using the shades and tints, 
and make up other combinations which have not been men- 
tioned. The combinations are really innumerable, but if 
you become familiar with the ones mentioned in these ex- 
ercises you will be able to have a power in the use of color 
to express any idea of emotion, which is the essence of true 
art. 


QUESTIONNAIRE 


1. Give an example of five colors and five complementaries 
in neutralized tones, using the numbers and letters to designate 
shades of the darkest value and lights of the palest tint. 

2. How many spectrums do we use in making five colors and 
five complementaries in neutralized tones? 

3. What is a tint? 


52 THE STUDY OF COLOR 


. What is a neutral? 

What is the spectrum? 

What is color? 

What is a pigment? 

What is a complementary? 

. How do we know if a color is complementary? 


POI AAS 


THIRTEENTH LESSON 
THREE Coors IN ANALOGOUS HaRMONY, BRILLIANTS 


We have now done the complementaries from one to 
five in brilliants and in grays, using one, two, three, four, 
and five spectrums in the color combinations. We now 
come to a part of color combinations which we call analo- 
gous harmonies. This is based on using only one-half of 
a spectrum. Looking at the spectrum chart on Plate I, 
if we take any set of colors next to each other, not to 
exceed six, we use just one-half of the spectrum, but if we 
used the seventh color we would then have the comple- 
mentary of the first one. This would destroy the analo- 
gous harmony and make an unbalanced color combination. 

To give a feeling of completeness we must always use 
three steps or more. Two colors never give this impres- 
sion. 

It would be a very good idea if you would carry a 
small notebook and pencil and when in the country make 
small memorandum sketches in outline of trees, hills, 
water, etc., for use in these designs. 

Looking at the design drawn on the upper left-hand 


THE STUDY OF COLOR 53 


corner on chart No. 28 you will color this design 
in brilliant harmonies of three colors. After you have 
drawn the other five designs in the spaces left it would be 
a much better idea now not to refer to Plate XII to get 
ideas, but to originate them from the sketches that you 
have made outdoors. 

The designs are to be colored as follows: 


. Red, orange, yellow. 

. Orange, yellow, yellowgreen. 
. Yellow, yellowgreen, green. 

. Yellowgreen, green, bluegreen. 
. Green, bluegreen, blue. 

. Bluegreen, blue, blueviolet. 
Blue, blueviolet, violet. 

. Blueviolet, violet, purple. 

. Violet, purple, crimson. 

. Purple, crimson, scarlet. 

. Crimson, scarlet, red. 

. Scarlet, red, orange. 


© ON AN PWD HS 


— eS be 
No - O 


You will see by this that you can get twelve color com- 
binations instead of only six as we did in the comple- 
mentary colors. After you have colored the two charts in 
these harmonies you should make some extra sheets and 
color them with the brilliant colors, using the 24-color 
spectrum chart. This can be done in two ways as follows: 
The first design could be colored in red, orange-red, and 
orange; the second design in orange-red, orange, and 
orange-yellow; the third design in orange, orange-yellow, 
and yellow; the fourth design in yellow, yellowgreen- 
yellow, and yellowgreen; the fifth design in yellowgreen- 
yellow, yellowgreen, and yellowgreen-green, etc.—in other 


54 THE STUDY OF COLOR 


words, the color in between each one of the twelve colors 
on the color-mixing chart, using three hues or colors each 
time. Another way would be to use the three colors in 
the 12-color mixing chart, putting the steps in between at 
the same time. For example, the first design could be in 
red, orange-red, orange, orange-yellow, and yellow. This 
would give you five hues, but there would really be only 
three colors from the 12-color mixing chart. ‘The colors 
in between would lead in a more gradual way and give us 
what we call a better sequence. 

This word SEQUENCE is a very important word to 
remember as later on when we paint objects with their 
shadows and lights the half-tones must always be carried 
in sequence. This will be explained in later lessons. 

It is not necessary to put in the brilliant colors always 
with flat tones, but they can be broken up in the handling, 
as was explained, by making the diagonal, or the square, 
or the basket-weave stroke. Of course, you will not use 
white with any one of these colors, all colors being bril- 
liant as in the first lesson of one color and one comple- 
mentary. 


QUESTIONNAIRE 


1. What is the least number of colors we can have in a 
harmony ? 
2. What is the largest number of colors we can have in a 
12-color spectrum? 
- 3. What is the largest number of colors we can have in a 
24-color spectrum? 
4. What is the least number of colors we can have in a 
24-color spectrum? 


THE STUDY OF COLOR 55 


5. If we put seven colors in a 12-color spectrum for a har- 
mony what does it do? 

6. Why are three colors better than two in a harmony? 

7. Give an example of three colors in harmony, using blue 
as one color. 

8. Give an example of three colors in harmony, using violet 
as one color. 

9g. Give an example of three colors in harmony, using red 
as one color. 


FOURTEENTH LESSON 
Four CoLors IN ANALOGOUS HARMONY, BRILLIANTS 


This lesson takes up the colors in sequence or analo- 
gous harmony, using this time four colors instead of three. 

The designs should be originated the same as in the 
last lesson, the design in the upper left-hand corner on 
chart No. 30 giving you a fair idea of what to put in 
the other spaces. 

The designs should be colored as follows: 


. Red, orange, yellow, yellowgreen. 

. Orange, yellow, yellowgreen, green. 
. Yellow, yellowgreen, green, bluegreen. 
. Yellowgreen, green, bluegreen, blue. 
Green, bluegreen, blue, blueviolet. 

. Bluegreen, blue, blueviolet, violet. 

. Blue, blueviolet, violet, purple. 

. Blueviolet, violet, purple, crimson. 

. Violet, purple, crimson, scarlet. 

. Purple, crimson, scarlet, red. 

. Crimson, scarlet, red, orange. 

12. Scarlet, red, orange, yellow, 


© ON DN BW DN 


moe 
of 


56 THE STUDY OF COLOR 


Again you see we can make twelve color combinations 
entirely different in analogous harmonies or sequence, and 
likewise it is suggested that you make four colors in har- 
mony using the 24-color chart as was explained in the 
previous lesson by putting the steps in between these colors 
or by using directly four of the twenty-four colors. By 
using the 24-color chart with the steps between you would, 
of course, get twenty-four designs instead of twelve. 


QUESTIONNAIRE 


1. What is four colors in analogous harmony ? 

2. What is sequence? 

3. Give an example of four colors in analogous harmony, 
using red as one of the colors. 

4. Give an example of four colors in analogous harmony, 
using purple as one of the colors. 

5. Give an example of four colors in analogous harmony, 
using yellow as one of the colors. 

6. Give an example of four colors in analogous harmony, 
using blue as one of the colors. 


FIFTEENTH LESSON 
FivE Cotors IN ANALOGOUS HaRMony, BRILLIANTS 


This lesson deals with five colors in the same way as 
we did with the four colors. The designs should also be 
landscapes taken from things that you have seen outdoors. 

You will be surprised by coloring the things in a con- 
ventionalized manner as, of course, this exercise demands. 
They will be units of color composition and although the 


THE STUDY OF COLOR 57 


sky may be painted with red instead of blue, or the grass 
with an orange instead of a green, or a cloud in yellow 
instead of in white, the effect will be very pleasing. Of 
course, you understand that these color combinations can 
be used for the decoration of any of the applied arts 
besides the conventionalized landscape. After drawing 
the designs on charts Nos. 32 and 33 you will color the 
designs as follows: 


. Red, orange, yellow, yellowgreen, green. 

. Orange, yellow, yellowgreen, green, bluegreen. 
. Yellow, yellowgreen, green, bluegreen, blue. 

. Yellowgreen, green, bluegreen, blue, blueviolet. 
Green, bluegreen, blue, blueviolet, violet. 

. Bluegreen, blue, blueviolet, violet, purple. 

. Blue, blueviolet, violet, purple, crimson. 

. Blueviolet, violet, purple, crimson, scarlet. 

. Violet, purple, crimson, scarlet, red. 

. Purple, crimson, scarlet, red, orange. 

. Crimson, scarlet, red, orange, yellow. 

12. Scarlet, red, orange, yellow, yellowgreen. 


0 ONAN PW NY 


iio! 
oO 


And again we have made twelve different color com- 
binations out of the 12-color spectrum chart. You should 
again make extra charts, using the 24-color chart as before 
directed. 


QUESTIONNAIRE 


1. What is five colors in analogous harmony? 

2. Give an example of five colors in analogous harmony, 
using green as one of the colors. 

3. Give an example of five colors in analogous harmony, 
starting with orange. 

4. Give an example of five colors in analogous harmony, 
starting with yellow. 


58 THE STUDY OF COLOR 


5. Give an example of five colors in analogous harmony, 
starting with violet. 

6. Give an example of five colors in analogous harmony, 
starting with blue. 

7. Give an example of five colors in analogous harmony, 
starting with scarlet. 


SIXTEENTH LESSON 
Srx CoLtors IN ANALOGOUS HARMONY, BRILLIANTS 


In this lesson we deal with six colors on one side of 
the spectrum chart. Heretofore we have used only five 
colors on one side of the spectrum, but here we can use 
six colors on the 12-color spectrum or twelve colors on the 
24-color spectrum. ‘The designs on charts Nos. 34 and 35 
should be drawn in and colored as follows: 


. Red, orange, yellow, yellowgreen, green, bluegreen. 

. Orange, yellow, yellowgreen, green, bluegreen, blue. 

. Yellow, yellowgreen, green, bluegreen, blue, blueviolet. © 
. Yellowgreen, green, bluegreen, blue, blueviolet, violet. 
. Green, bluegreen, blue, blueviolet, violet, purple. 

. Bluegreen, blue, blueviolet, violet, purple, crimson. 

. Blue, blueviolet, violet, purple, crimson, scarlet. 

. Blueviolet, violet, purple, crimson, scarlet, red. 

. Violet, purple, crimson, scarlet, red, orange. 

. Purple, crimson, scarlet, red, orange, yellow. 

. Crimson, scarlet, red, orange, yellow, yellowgreen. 

12. Scarlet, red, orange, yellow, yellowgreen, green. 


Oo COs DN RP WD & 


om 
mo) 


Here we have again the 12-color combinations, and 
likewise you can make the twenty-four color combinations 
the same as you did in the previous lesson. 


THE STUDY OF COLOR 59 


QUESTIONNAIRE 


1. What is six colors in analogous harmony? 

2. What is the largest number of colors we can put in 
analogous harmony using the 12-color spectrum? 

3. Give an example of six colors in analogous harmony, 
starting with crimson and going around the spectrum clockwise. 

4. Give an example of six colors in analogous harmony, 
starting with purple and going around the spectrum counter-clock- 
wise. 

5. Give an example of six colors in analogous harmony, start- 
ing with blue. 

6. Give an example of six colors in analogous harmony with 

green and bluegreen as the middle colors. 

7. Give an example of six colors in analogous harmony. with 
scarlet and red as the two middle colors. 7 


SEVENTEENTH LESSON 


‘THREE CoLors IN ANALOGOUS HARMONY, NEUTRALIZED OR 
GRAYED 


The next problem we have to work on is analogous 
harmonies in neutralized or grayed colors. We remem- 
ber how we neutralized the colors by the mixture of their 
complementary and by adding white in the grayed comple- 
mentaries. We do the same thing in analogous harmonies 
with the exception that we can carry it into six colors as 
we did in the previous lesson of analogous harmonies in > 
brilliants—again reminding you that when a color 1s 
grayed or neutralized it means that you are making a color 
which does not reflect the full amount of the ray of the 


60 THE STUDY OF COLOR 


spectrum, and is the same as if you took a brilliant color, 
first exposing it into a brilliant light, next exposing it under 
a modified light, next exposing it in a place that is darker, 
and last in a very dark place. We get the effect of this 
darkened tone by mixing a color with its complementary; 
although we expose the neutralized color in a bright light 
we can only get the brilliancy that we had with the brilliant 
color in a darkened place. 

The first of the grays in harmonies should be made 
as we did in the brilliants, with three colors only, continu- 
ing as follows: The first design you will color in red, 
orange, and yellow. You should use the neutralized 
colors of A—1, 2, and 3; the orange in the brilliant and 
tints of o—A, B, C, and D; and the yellow in D—1, 2, and 
3. This will make the orange appear the most dominant 
note in your composition. Youcan make this in three differ- 
ent methods, either by making the most of the design in 
yellow, using the other colors in smaller quantities, or you 
could make most of the design in red and yellow, leaving 
the orange in small masses, or, again, you could make the 
larger masses with orange, using the neutralized red and 
neutralized yellow in the smaller masses, or you could 
leave all three evenly balanced. So you see you can make, 
with the same color combination, innumerable effects. 
After drawing the designs on Charts No. 36 and 37 color 
the designs as follows: 


1. Red, orange, yellow. 

2. Orange, yellow, yellowgreen. 
3. Yellow, yellowgreen, green. 

4. Yellowgreen, green, bluegreen. 


THE STUDY OF COLOR 61 


. Green, bluegreen, blue. 

. Bluegreen, blue, blueviolet. 
. Blue, blueviolet, violet. 

. Blueviolet, violet, purple. 

. Violet, purple, crimson. 

10. Purple, crimson, scarlet. 
11. Crimson, scarlet, red. 

12. Scarlet, red, orange. 


Oo On AN 


You may change the combinations in additional de- 
signs—for example, you could use the three colors all in 
A—1, 2, and 3, or with B—1, 2, and 3, or with 3—A, B, 
C, and D, etc. You can also use the 24-color spectrum 
chart as we did in the previous lesson, only this time mak- 
ing all the colors neutralized or in the tints. 


QUESTIONNAIRE 


1. How do I make three colors in analogous harmony in 
neutralized colors? 

2. Give an example. 

3. How can I make one color in a harmony the most Aoi 
nant note? 

4. Give another way of doing it. 

5. How can I make all colors evenly balanced in an analo- 
gous harmony? 

6. Does our eye make any difference in regard to the im- 
pression ? 

7. Give me an example of three colors in analogous harmony, 
neutralized, in the 3 tone. 

8. Give an example of three colors in analogous harmony, 
neutralized, in the B line. 

g. Give an example of three colors in analogous harmony, 
neutralized, in the C line. 

10. Give an example of three colors in analogous harmony, 
neutralized, in the D line. 


62 THE STUDY OF COLOR 


EIGHTEENTH LESSON 


Four Coors iN ANALOGOUS Harmony, NEUTRALIZED OR 
GRAYED 


It is time now that we take up a little of composition 
of form as well as composition of color as we have done 
in our previous lesson. You will therefore draw a design 
based on the composition of weight against distance; if 
you hold a ruler or stick of wood balanced on a finger, the 
finger will have to be at the center of the ruler to make it 
balance. This is known as bi-symmetrical balance. Now 
if you put the weight on one end of the ruler you will have 
to make one end longer than the end that has the weight. - 
This is known as weight balanced by distance. Drawing 
five more designs on charts No. 38 and 39 with this in 
mind we can place a tree on one side about two-thirds to 
the right, and have distant hills showing on the other side. 
This will make these designs so that the mass is to the 
right or to the left of the picture design, leaving the space 
balance the mass on the other side, as you will see in the 
printed illustration on this chart. ; 

Color the designs as follows: 


. Red, orange, yellow, yellowgreen. 

. Orange, yellow, yellowgreen, green. 

. Yellow, yellowgreen, green, bluegreen. 
. Yellowgreen, green, bluegreen, blue. 
Green, bluegreen, blue, blueviolet. 

. Bluegreen, blue, blueviolet, violet. 

. Blue, blueviolet, violet, purple. 


SDN PWD 


THE STUDY OF COLOR 63 


8. Blueviolet, violet, purple, crimson. 
9. Violet, purple, crimson, scarlet. 
10. Purple, crimson, scarlet, red. 

11. Crimson, scarlet, red, orange. 

12. Scarlet, red, orange, yellow. 


Neutralize these colors the same as you did in the 
previous lesson, and also use the 24-color mixing chart. 


QUESTIONNAIRE 


1. Give an example of four colors in analogous harmony, 
neutralized, using the diagonal of the color-mixing chart. 

2. Give an example of four colors in analogous harmony, 
neutralized, with advancing and receding tones. 

3. Give an example of four colors in analogous Paaiony 
neutralized, with advancing and receding tints. 

4. Give an example of four colors in analogous harmony, 
neutralized, using crimson as one of the colors. 

5. Give an example of four colors in analogous harmony, 
neutralized, using violet as one of the colors. 

6. Give an example of four colors in analogous harmony, 
neutralized, using bluegreen as one of the colors. 

7. What is weight against distance? 

8. What is meant by composition ? 

9. What is balance? 

10. Give an example of four colors in analogous harmony 
balancing three colors against one. 

11. If I have one color brilliant can the other colors, to 
balance, be grayed or neutralized ? 


64 THE STUDY OF COLOR 


NINETEENTH LESSON 


Five Cotors In ANALOGOUS HARMONY, NEUTRALIZED OR 
GRAYED 


Taking another compositional form which is known 
as weight against smaller weight; holding the ruler bal- 
anced on the finger, with a large weight on one end and a 
smaller weight on the other, the end with the small weight 
will have to be longer than the other end, but not as long 
as in the previous lesson. ‘This is called weight against 
smaller weight. Draw the designs in the empty spaces on 
charts No. 40 and 41 so that the heavy mass is on one side 
of the picture design and the lighter mass is on the other. 
The lighter mass will be further away from the center, 
and the heavy mass nearer to the center. 

The designs are to be colored as follows: 

. Red, orange, yellow, yellowgreen, green. 

. Orange, yellow, yellowgreen, green, bluegreen. 
. Yellow, yellowgreen, green, bluegreen, blue. 

. Yellowgreen, green, bluegreen, blue, blueviolet. 
. Green, bluegreen, blue, blueviolet, violet. 

. Bluegreen, blue, blueviolet, violet, purple. 

. Blue, blueviolet, violet, purple, crimson. 

. Blueviolet, violet, purple, crimson, scarlet. 

g. Violet, purple, crimson, scarlet, red. 

10. Purple, crimson, scarlet, red, orange. 


11. Crimson, scarlet, red, orange, yellow. 
12. Scarlet, red, orange, yellow, yellowgreen. 


CON AM RW DH & 


Again you have twelve color combinations using the 
12-color spectrum, and you can get twenty-four color com- 
binations using the 24-color spectrum. 


THE STUDY OF COLOR 65 


QUESTIONNAIRE 


1. What is weight against smaller weight in composition? 

2. Give an example of five colors in analogous harmony, 
neutralized, using red, orange, and yellow against yellowgreen and 
green, neutralizing some more than others. 

3. Give an example of five colors in analogous harmony, 
neutralized, using green as one of the colors. 

4. Give an example of five colors in analogous harmony, 
neutralized, using blueviolet as one of the colors. 

5. Give an example of five colors in analogous harmony, 
neutralized, using crimson as one of the colors. 

6. Give an example of five colors in analogous harmony, 
neutralized, using scarlet as one of the colors. 

7. Give an example of five colors in analogous harmony, 
neutralized, using red as one of the colors. 

8. Give an example of five colors in analogous harmony, 
neutralized, using the 24-color spectrum chart. 


TWENTIETH LESSON 


Srtx CoLors In ANALOGOUS HaRMony, NEUTRALIZED OR 
GRAYED 


In this lesson we take up still another form of com- 
position; holding the ruler so that the heavy weight is on 
one end and a number of smaller weights on the other end 
so as to make an unequal balance. This is known as 
weight against smaller weight, sub-divided. After draw- 
ing the designs on charts No. 42 and 43 color the designs 
as follows: 


1. Red, orange, yellow, yellowgreen, green, bluegreen. 
2. Orange, yellow, yellowgreen, green, bluegreen, blue. 


66 THE STUDY OF COLOR 


3. Yellow, yellowgreen, green, bluegreen, blue, blueviolet. 
4. Yellowgreen, green, bluegreen, blue, blueviolet, violet. 
5. Green, bluegreen, blue, blueviolet, violet, purple. 

6. Bluegreen, blue, blueviolet, violet, purple, crimson. 

7. Blue, blueviolet, violet, purple, crimson, scarlet. 

8. Blueviolet, violet, purple, crimson, scarlet, red. 

g. Violet, purple, crimson, scarlet, red, orange. 

10. Purple, crimson, scarlet, red, orange, yellow. 

11. Crimson, scarlet, red, orange, yellow, yellowgreen. 

12. Scarlet, red, orange, yellow, yellowgreen, green. 


Instead of making the same neutralization as we did 
in the previous analogous harmonies, color one set of 
designs using A—1, 2, and 3 in all six colors, and in the 
background or distance use the dead neutral 4D. 

By using this dead neutral you will make it appear as 
if it were made of the complementary color of all the three 
colors used. It is important that you make this neutral 
before it is put into the chart, so that it does not really 
show any color at all. The larger mass of this design 
should be made with this neutral, and the other colors only 
as staccato notes. You will see by that that the neutral 
enhances the value of all the other colors, and, as we have 
said above, will look as if it were a complementary color 
to all the colors used, or, as we will know in future, a 
mutual or split complementary. 


QUESTIONNAIRE 


1. Give an example of six colors in analogous harmony, 
neutralized, using the tints and tones. 

2. Give an example of six colors in analogous harmony, 
neutralized, using crimson as one of the colors. 


THE STUDY OF COLOR 67 


3. Give an example of six colors in analogous harmony, 
neutralized, using blueviolet as one of the colors. 

4. Give an example of six colors in analogous harmony, 
neutralized, using green as one of the colors. 

5. Giving an example of six colors in analogous harmony, 
neutralized, using purple as one of the colors. 

6. Give an example of six colors in analogous harmony, 
neutralized, using red as one of the colors. 

7. Give an example of using six colors in analogous harmony, 
neutralized, and a dead neutral as the background or as the spot 
of color. 





THIRD SECTION 


Twenty-first Lesson: Two Colors and one Mutual Com- 


SRE MMR OO Poe sche y Gs )aielv css soihee cvess 70 
Twenty-second Lesson: Three Colors and One Mutual Com- 
Sea ay Chics’ wigico'e owe ee 75 
Twenty-third Lesson: Three Colors and Two Mutual Com- 
RE ie eros, 5 as aga caherng la d’ée bles a7 
Twenty-fourth Lesson: Four Colors and One Mutual Com- 
RE MSN 9 gis 5 HE gk Sa Sak aod eal eins Glave ahs « 79 
Twenty-fifth Lesson: Four Colors and Two Mutual Com- 
ERE hs oid vnacalgc'o acne oes bin dan ceiewiene 80 
‘Twenty-sixth Lesson: Four Colors and Three Mutual Com- 
Me cece csc weavuacdees 82 
‘Twenty-seventh Lesson: Five Colors and One Mutual Com- 
re i i che a dace wie cee boied teat 85 
Twenty-eighth Lesson: Five Colors and Two Mitel Com- 
IME 2 Gs ae akc e Se ahs’, So date eo 4 aierere pele 86 
Twenty-ninth Lesson: Five Colors and Three Mutual Com- 
SORT eet iors. alls 6 oho die's wcsieeials eles ater 88 
Thirtieth Lesson: Five Colors and Four Mutual Comple- 
RE 0 a ee aoa. aia o aie ipié n'a a asin acels go 
Thirty-first Lesson: Six Colors and One Mutual Comple- 
EM ee ere n2 5, sg og a ele tie vic coe ee sted ee 92 
Thirty-second Lesson: Six Colors and Two Mutual Com- 
PR 2 oie 4, WV ge 6, «tne ep nie ace wiekia el ak 94 
Thirty-third Lesson: Six Colors and Three Mutual Com- 
SoM RMT ee a. wg abe o glekein'e C4 sates 96 
Thirty-fourth Lesson: Six Colors and Four Mutual Com- 
RG eI 8104.5 ios, 8). aS oan «Cie cals esate woe a Ree 98 
Thirty-fifth Lesson: Six Colors and Five Mutual Comple- 
MES PL oink go tig whe es 100 
Peretti reson: “Triads. 2... cae cts e eae cuccere 103 
Thirty-seventh Lesson: Monochromes..........520-se008 105 
mrty-cienth Lesson: Still Life Painting..........¢.0s04> 106 


69 


TWENTY-FIRST LESSON 
Two Cotors AND ONE MutTuAL COMPLEMENTARY 


We now come to a part of the color exercises which is 
a combination of all that has gone before. We learned 
that one color and one complementary used one spectrum, 
two colors and two complementaries used two spectrums, 
three colors and three complementaries used three spec- 
trums, etc., and we learned that harmonies were one-half 
of the spectrum, and now we come to a color combination 
known as split complementaries. In this classification of 
color combinations which is known as split comple- 
mentaries, we must imagine that we take two or more 
spectrums, but instead of dividing them as we did in the 
regular complementaries in two equal divisions we now 
divide them in two wnequal divisions. For example, the 
color combination known as “two colors against one 
mutual complementary’—starting with the red and the 
orange as the two colors the mutual complementary would 
bce a color known as blueviolet-blue or violet-blue. Taking 
two spectrums one of which we divide in red and blue, the 
other into orange and blueviolet as we did in the regular 
complementaries, but instead of leaving the blueviolet and 
blue separate we throw the two rays together, which 
would make a color known as blueviolet-blue or violet-blue, 
which is shown in the 24-color spectrum chart on Plate 


IIT. 
70 


LiLX tL" 4d 





SPLIT COMPLEMENTARIES IN BRILLIANTS AND GRAYS 





Five colors and three mutual complementaries 
red, orange, vellow, vellow-green, green 
blue-violet, violet, purple 





Six colors and five mutual compJementaries 
yellow, vellow-green, green, blue-green, blue, blue-violet 


violet-purple, purple-crimson, crimson-scarlet, scarlet-red, red-orange 


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12 THE STUDY OF COLOR 


Remember that the three rays of the spectrum are 
red, green, and violet, and the yellow is made up of the 
combined rays of red and green, the blue is made up of 
the green and the violet, the crimson is made up of the 
violet and red, and likewise reminding you that the orange 
is made up of all the red rays with just a little of the 
green rays, the yellowgreen is made up of all the green 
rays and a very little of the red rays, the bluegreen is made 
up of all the green rays and very little of the violet rays, 
the blueviolet is made up of all the violet rays and very 
little of the green rays, the purple is made up of all the 
violet rays and very little of the red rays, and the scarlet 
is made up of all the red rays with very little of the violet 
rays. his is repeated from the previous lessons to re- 
mind you of what each color is composed. 

The student will readily understand the system after 
once getting the idea of this first split complementary, and 
the rest of the split complementaries will appear very 
simple. 

Now instead of making the mutual complementary 
brilliant, if we were to neutralize it we would have to use 
its own complementary which would be a red-orange or 
orange-red as shown in the 24-color spectrum on Plates 
II and III, and as we know that blueviolet-blue is comple- 
mentary to the orange-red we mix a little of this with the 
blueviolet-blue—just enough to take away the brilliancy, 
or perhaps we add white, and we make the red and the 
orange more brilliant by having their mutual comple- 
mentary grayed or neutralized or in tint. 

We therefore draw some more designs in the spaces 


THE STUDY OF COLOR 73 


left on charts No. 44 and 45. Instead of making these 
conventionalized landscapes we now use the human figure, 
buildings, and animals as a means of composition. Some 
of these designs can be covers for magazines, books, or 
illustrations, also giving compositions for portrait, figure 
painting, and landscapes. Color the designs as follows: 


. Red and orange with blueviolet-blue. 

. Orange and yellow with blueviolet-violet. 

. Yellow and yellowgreen with purple-violet. 
. Yellowgreen and green with purple-crimson. 
. Green and bluegreen with scarlet-crimson. 

. Bluegreen and blue with scarlet-red. 

. Blue and blueviolet with orange-red. 

. Blueviolet and violet with orange-yellow. 

. Violet and purple with yellowgreen-yellow. 
. Purple and crimson with yellowgreen-green. 
. Crimson and scarlet with bluegreen-green. 
. Scarlet and red with bluegreen-blue. 


Oo CON DAMN PW DY 


x se 
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We have now twelve color combinations by using a 
combination of the 12-color mixing chart with the 24-color 
mixing chart; as you will notice one of the colors of the 
24-color mixing chart is complementary to two colors of 
the 12-color mixing chart. 

You can make the mutual complementary in brilliant 
or in gray, and you will therefore make some extra charts 
and color some with the brilliant colors and other charts 
with all neutralized colors in A—1, 2, and 3, and some 
with B—1, 2, and 3, C—1, 2, and 3, and D—1, 2, and 3, 
and any of the other neutralized or tint combinations 
which of course are too numerous to mention, but the 
more you use of these grayed or neutralized colors in the 


74 


THE STUDY OF COLOR 


combinations, as described in lessons 8 to 12, the more 


astounded you will be by the possibilities of color com- 


binations and compositions, and the totally different effect 


you will get by using the different shades and tints. 


A 


color recedes as you neutralize it or add white to 


make tints, as was described in lesson 8, so you will put 


the grayed or neutralized color in the distance, and the 


more brilliant or more intense value in the foreground. 


OW NO es 


4. 
against 
ee 
6. 
7. 


orange. 


8. 

oh 
green? 
10. 

II. 
green? 
Yr, 

13. 


QUESTIONNAIRE 


. What is a split complementary ? 
. What is a mutual complementary? 
. What do we do when we make one color against two? 


What is the difference between one against two and two 
one? 

When do we throw two rays together to make one color? 
Why is a split color complementary ? 

Give an example of the mutual complementary of red and 


What are the two colors complementary to blueviolet-blue ? 
What are the two colors complementary to bluegreen- 


What are the two colors complementary to orange-yellow ? 
What are the two colors complementary to yellowgreen- 


Can I neutralize the mutual completa 
How do I do this? 


THE STUDY OF COLOR 75 


TWENTY-SECOND LESSON 
THREE COLORS AND ONE MutTuat CoMPLEMENTARY 


In the previous lesson we took two colors and one 
mutual complementary. In this lesson we have to deal 
with three colors with one mutual complementary, and 
again we take three spectrums, and as an example taking 
the red, orange, and yellow—from these spectrums we 
would have three complementaries of blue, blueviolet, and 
violet. Taking up the question of quantitative color de- 
sign, if we throw these rays together we would have a 
blueviolet ray which in itself would be more brilliant on 
account of the three spectrums being used to produce it. 
Having this knowledge would lead us to believe, with a 
mutual complementary of one against three, that the com- 
plementary should either be more brilliant than the other 
three or should occupy a larger space in the design if neu- 
tralized, and this is a very good hypothesis to work upon 
for the quantitative theory of color masses. 

We therefore say that blueviolet is a mutual or split 
complementary to red, orange, and yellow. After draw- 
ing in the rest of the designs on charts No. 46 and 47 you 
will color them as follows: 


. Red, orange, yellow with blueviolet. 

. Orange, yellow, yellowgreen with violet. 

. Yellow, yellowgreen, green with purple. 

. Yellowgreen, green, bluegreen with crimson. 
. Green, bluegreen, blue with scarlet. 

. Bluegreen, blue, blueviolet with red. 


Nm br W ND & 


76 THE STUDY OF COLOR 


. Blue, blueviolet, violet with orange. 

. Blueviolet, violet, purple with yellow. 

. Violet, purple, crimson with yellowgreen. 
10. Purple, crimson, scarlet with green. 

11. Crimson, scarlet, red with bluegreen. 

12. Scarlet, red, orange with blue. 


Oo conNT 


Again we have twelve color combinations. You will 
gray the mutual complementary as you did in the previous 
lesson, and also make some extra charts neutralized or 
with tints with different intensities of your own selection, 
as it is not necessary now for the advanced pupil to have 
the tints and shades enumerated. Many charts can be 
done, each one of interest and furthering your knowledge 
of color. 


QUESTIONNAIRE 


1. What is three colors with one mutual complementary ? 

2. Why does quantitative color in a design count? 

3. Give an example of three colors with one mutual comple- 
mentary, one color of which is red. 

4. Give an example of three colors with one mutual com- 
plementary, one color of which is yellow. 

5. Give an example of three colors with one mutual comple- 
mentary, one color of which is violet. 

6. Give an example of three colors with one mutual com- 
plementary, one color of which is scarlet. 


THE STUDY OF COLOR 7 


TWENTY-THIRD LESSON 
THREE CoLors AND Two MutTuAaL CoMPLEMENTARIES 


Taking the color combination known as three colors 
against two mutual complementaries, we would have to 
take again three spectrum charts, and taking the red, 
orange, and yellow as the first example would give us their 
three complementaries of blue, blueviolet, and violet. 
Now instead of throwing these three rays into one ray as 
we did in the previous lesson we throw the blue on to half 
of the blueviolet, which would make a blueviolet-blue or 
violet-blue as we did in two colors against one comple- 
mentary, and the violet on the other half of the blueviolet 
which would make blueviolet-violet-—so we say that red, 
orange, and yellow have two mutual or split complemen- 
taries of blueviolet-violet and blueviolet-blue. The names 
~ of these colors could be better understood if you referred 
to the 24-color spectrum chart on Plate III. 

After drawing the rest of the designs on charts No. 
48 and 49 you will color them as follows: 


1. Red, orange, yellow with blueviolet-blue and blueviolet- 
violet. 

2. Orange, yellow, yellowgreen with blueviolet-violet and 
purple-violet. 

3. Yellow, yellowgreen, green with purple-violet and purple- 
crimson. 

4. Yellowgreen, green, bluegreen with purple-crimson and 
scarlet-crimson. 

5. Green, bluegreen, blue with scarlet-crimson and scarlet-red. 


78 THE STUDY OF COLOR 


6. Bluegreen, blue, blueviolet with scarlet-red and orange-red. 

7. Blue, blueviolet, violet with orange-red and orange-yellow. 

8. Blueviolet, violet, purple with orange-yellow and yellow- 
green-yellow. 

g. Violet, purple, crimson with yellowgreen-yellow and yel- 
lowgreen-green. 

10. Purple, crimson, scarlet with yellowgreen-green and blue- 
green-green. 

11. Crimson, scarlet, red with bluegreen-blue and blueviolet- 


blue. 


12. Scarlet, red, orange with bluegreen-blue and blueviolet-blue. 


Again we have twelve color combinations. Numbers 
of charts should be made so as to use the different grays 
or neutralized tones and tints, as well as using the 24-color 
spectrum. 


QUESTIONNAIRE 


1. What is meant by three colors and two mutual comple- 
mentaries ? 

2. How many spectrums do we use in making this combina- 
tion. 

3. Give an example of three colors and two mutual comple- 
mentaries, one color of which is yellowgreen. 

4. Give an example of three colors and two mutual comple- 
mentaries, one color of which is scarlet-crimson. 

5. Give an example of three colors and two mutual comple- 
mentaries, one color of which is blue. 

6. Give an example of three colors and two mutual comple- 
mentaries, one color of which is yellow. 


THE STUDY OF COLOR 79 


TWENTY-FOURTH LESSON 
Four CoLors AND ONE MuTuAL COMPLEMENTARY 


Continuing on the mutual or split complementaries we 
come to a color combination known as four colors against 
one mutual complementary. If we took the red, orange, 
yellow, and yellowgreen we would have their comple- 
mentaries of blue, blueviolet, violet, and purple. This 
would mean that we had taken four spectrums and instead 
of dividing them up as we did in the previous lesson we 
throw them all into one which would give us a blueviolet- 
violet. This is practically the same as the complementary 
of two colors against one mutual complementary, in the 
first lesson of this section. We have simply added one 
color on to each end, and their complementaries, if mixed 
together, would produce the same as the two center colors. 

After filling in the designs on charts No. 50 and 51 
you will color them as follows: 


. Red, orange, yellow, yellowgreen with blueviolet-violet. 

. Orange, yellow, yellowgreen, green with purple-violet. 

. Yellow, yellowgreen, green, bluegreen with purple-crimson. 
. Yellowgreen, green, bluegreen, blue with scarlet-crimson. 

. Green, bluegreen, blue, blueviolet with scarlet-red. 

. Bluegreen, blue, blueviolet, violet with orange-red. 

. Blue, blueviolet, violet, purple with orange-yellow. 

. Blueviolet, violet, purple, crimson with yellowgreen-yellow. 
. Violet, purple, crimson, scarlet with yellowgreen-green. 

. Purple, crimson, scarlet, red with bluegreen-green. 

. Crimson, scarlet, red, orange with bluegreen-blue. 

12. Scarlet, red, orange, yellow with blueviolet-blue. 


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ion! 
mS 


80 THE STUDY OF COLOR 


Here we have again twelve color combinations in the 
split complementaries, and now we make some extra de- 
signs, coloring them in the same color combinations but 
using different degrees of the shades and tints. Many of 
these exercises can be done in the same manner as in the 
previous lesson. 


QUESTIONNAIRE 


1. What is four colors and one mutual complementary? 

2. How many spectrums do we use in making this combina- 
tion? | 
3. Give an example of four colors and one mutual comple- 
mentary, one color of which is yellowgreen. 

4. Give an example of four colors and one mutual comple- 
mentary, one color of which is purple. 

5. Give an example of four colors and one mutual comple- 
mentary, one color of which is blueviolet. 

6. Give an example of four colors and one mutual comple- 
mentary, one color of which is blueviolet-blue. 

7. Give an example of four colors and one mutual comple- 
mentary, one color of which is bluegreen-green. 

8. Give an example of four colors and one mutual comple- 
mentary, one color of which is yellowgreen-green. 


TWENTY-FIFTH LESSON 
Four CoLors AND Two MutTuat CoMPLEMENTARIES 


Again taking red, orange, yellow, and yellowgreen as 
four colors for which we wish to find, this time, two 
mutual complementaries. Now if we take four spectrums 
we would have their four complementaries of blue, blue- 


THE STUDY OF COLOR 81 


violet, violet, and purple, and instead of throwing all into 
one to make the one mutual complementary, we divide 
them into two equal parts—this would give blueviolet and 
violet, so we say that blueviolet and violet are the mutual 
complementaries of red, orange, yellow, and yellowgreen. 

As was said before, if you will master the theory of 
two colors and one complementary and three colors with 
one complementary you will be able to adapt all of the 
split complementaries; as was said, all you do in the future 
split complementaries is add on one color to each end, so 
that it is very important that you master the first two les- 
sons in this section. You see that these two center comple- 
mentaries of the four against two is simply taking the com- 
plementaries of the two middle colors as we did in the 
three colors with one mutual complementary. 

You will fill in the spaces on charts No. 52 and 53 and 
color them as follows: 


1. Red, orange, yellow, yellowgreen with blueviolet and violet. 

2. Orange, yellow, yellowgreen, green with violet and purple. 

3. Yellow, yellowgreen, green, bluegreen with purple and 
crimson. 

4. Yellowgreen, green, bluegreen, blue with crimson and 
scarlet. 

5. Green, bluegreen, blue, blueviolet with scarlet and red. 

6. Bluegreen, blue, blueviolet, violet with red and orange. 

7. Blue, blueviolet, violet, purple with orange and yellow. 

8. Blueviolet, violet, purple, crimson with yellow and yellow- 


9. Violet, purple, crimson, scarlet with yellowgreen and green. 
10. Purple, crimson, scarlet, red with green and bluegreen. 
11. Crimson, scarlet, red, orange with bluegreen and blue. 
12. Scarlet, red, orange, yellow with blue and blueviolet. 


82 THE STUDY OF COLOR 


And again having made twelve color combinations, we 
make some extra designs, coloring them in the same color 
combinations but using different degrees of the shades and 
tints. All of these exercises can be done in the same man- 
ner as in the previous lesson. 


QUESTIONNAIRE 


1. How many spectrums do we use in four colors and two 
mutual complementaries ? 

2. Why is it important to master first three colors against one 
and two colors against one in mutual complementaries? 

3. What similarity is there between these two color combina- 
tions and all other split or mutual complementaries ? 

4. Give an example of four colors and two mutual comple- 
mentaries, using orange as one of the colors. 

5. Give an example of four colors and two mutual comple- 
mentaries, using yellow as one of the colors. 

6. Give an example of four colors and two mutual comple- 
mentaries, using crimson as one of the colors. 

7. Give an example of four colors and two mutual comple- 
mentaries, using blueviolet as one of the colors. 

8. Give an example of four colors and two mutual comple- 
mentaries, using bluegreen as one of the colors. 

g. Give an example of four colors and two mutual comple- 
mentaries, using scarlet as one of the colors. 


TWENTY-SIXTH LESSON 
Four CoLors AND THREE MuTuAL COMPLEMENTARIES 


Taking red, orange, yellow, and yellowgreen again, 
and this time making three mutual complementaries in- 
stead of two complementaries as we did in the previous 


THE STUDY OF COLOR 83 


lesson. ‘This time we wish to find three mutual comple- 
mentaries, and of course we take four spectrums again 
and we find that the complementaries are blue, blueviolet, 
violet, and purple, and this time instead of dividing them 
in half we divide them into three equal parts. This would 
give us the three mutual or split complementaries known 
as blueviolet-blue, blueviolet-violet, and purple-violet. 
After completing the charts No. 54 and 55 with the 


designs in figure composition we color these designs as 
follows: 


1. Red, orange, yellow, yellowgreen with _ blueviolet-blue, 
blueviolet-violet, purple-violet. 
2. Orange, yellow, yellowgreen, green with blueviolet- Gs 
purple-violet, purple-crimson. 
3. Yellow, yellowgreen, green, bluegreen with purple-violet, 
purple-crimson, scarlet-crimson. 
4. Yellowgreen, green, bluegreen, blue with purple-crimson, 
scarlet-crimson, scarlet-red. 
5. Green, bluegreen, blue, blueviolet with scarlet-crimson, 
scarlet-red, orange-red. 
6. Bluegreen, blue, blueviolet, violet with scarlet-red, orange- 
red, orange-yellow. 
7. Blue, blueviolet, violet, purple with orange-red, orange- 
yellow, yellowgreen-yellow. 
8. Blueviolet, violet, purple, crimson with orange-yellow, 
yellowgreen-yellow, yellowgreen-green. 
g. Violet, purple, crimson, scarlet with yellowgreen-yellow, 
yellowgreen-green, bluegreen-green. 
10. Purple, crimson, scarlet, red with yellowgreen-green, blue- 
green-green, bluegreen-blue. 
‘11. Crimson, scarlet, red, orange with bluegreen-green, blue- 
geeen-blue, blueviolet-blue. 
12. Scarlet, red, orange, yellow with bluegreen-blue, blue- 
violet-blue, blueviolet-violet. 


84 THE STUDY OF COLOR 


Here again we have twelve distinct color combinations 
which can be made in all brilliant colors, using the three 
colors in brilliants and the four colors in grays. If this is 
done the three brilliants should be in smaller masses, or 
we could have the four colors in brilliants and the three 
colors in gray or neutralized colors or tints—in this case 
the grays should be in larger areas. Many extra charts 
can be made to give you a better idea of the possibilities of 
this color combination. 


QUESTIONNAIRE 


1. How many spectrums do we use when we have four colors 
with three mutual complementaries ? 

2. Give an example of four colors and three mutual comple- 
mentaries, one color of which is red. 

3. Give an example of four colors and three mutual comple- 
mentaries, one color of which is blueviolet. 

4. Give an example of four colors and three mutual comple- 
mentaries, one color of which is purple. 

5. Give an example of four colors and three mutual comple- 
mentaries, one color of which is orange-yellow. 

6. Give an example of four colors and three mutual comple- 
mentaries, one color of which is yellowgreen-yellow. 

7. Give an example of four colors and three mutual comple- 
mentaries, one color of which is blueviolet-violet. 

8. Give an example of four colors and three mutual comple- 
mentaries, one color of which is bluegreen-green. 


THE STUDY OF COLOR 85 


TWENTY-SEVENTH LESSON 
FivE CoLors AND ONE MuTuAL COMPLEMENTARY 


Taking the five colors, red, orange, yellow, yellow- 
green, and green—to find out one color which would be 
a mutual complementary to all colors combined would be 
the same as if we took five spectrum charts, and their 
regular complementaries would be blue, blueviolet, violet, 
purple, and crimson. If we combined all these rays into 
one color we would have a violet, so we say that violet 
is a mutual or split complementary to red, orange, yellow, 
yellowgreen, and green. 

Drawing in the designs on charts No. 56 and 57 you 
will color them as follows: 


. Red, orange, yellow, yellowgreen, green with violet. 

. Orange, yellow, yellowgreen, green, bluegreen with purple. 
. Yellow, yellowgreen, green, bluegreen, blue with crimson. 
. Yellowgreen, green, bluegreen, blue, blueviolet with scarlet. 
Green, bluegreen, blue, blueviolet, violet with red. 

. Bluegreen, blue, blueviolet, violet, purple with orange. 

. Blue, blueviolet, violet, purple, crimson with yellow. 

. Blueviolet, violet, purple, crimson, scarlet with yellow- 


com OU BW DN 


g. Violet, purple, crimson, scarlet, red with green. 

10. Purple, crimson, scarlet, red, orange with bluegreen. 

11. Crimson, scarlet, red, orange, yellow with blue. 

12. Scarlet, red, orange, yellow, yellowgreen with blueviolet. 


Again we have twelve color combinations. Besides 
making the charts to be put in the book you will again 


86 THE STUDY OF COLOR 


make extra charts and color these with all the shades and 
tints as you did in the previous lessons, remembering again 
that as the mutual complementary color is a combination 
of all the rays of the complementaries of all the other 
colors, it either should be a brilliant tone, or in larger 
masses if in the neutralized color, to make an even balance. 

Still another way would be to make the entire picture 
or design in the five colors, using the mutual complemen- 
tary as a staccato note. 


QUESTIONNAIRE 


1. How may spectrums do you use when you have five 
colors against one mutual complementary? 

2. Give an example of five colors and one mutual comple- 
mentary, one color of which is yellow. 

3. Give an example of five colors and one mutual comple- 
mentary, one color of which is purple. 

4. Give an example of five colors and one mutual comple- 
mentary, one color of which is green. 

5. Give an example of five colors and one mutual comple- 
mentary, one color of which is crimson. 

6. Give an example of five colors and one mutual comple- 
mentary, one color of which is orange. 


TWENTY-EIGHTH LESSON 
Five CoLtors AND Iwo MutTuaLt CoMPLEMENTARIES 


To find out the two colors which would be mutually 
complementary would be the same as taking five spec- 
trums, and taking again the colors, red, orange, yellow, 
yellowgreen, and green, their regular complementaries 


THE STUDY OF COLOR 87 


should be blue, blueviolet, violet, purple, and crimson. 
Instead of putting these rays together in one color we 
divide it into two equal parts, and we get two colors—one, 
blueviolet-violet, and the other, purple-violet. 

Drawing in the designs on charts No. 58 and 59, color 
them as follows: 


1. Red, orange, yellow, yellowgreen, green with blueviolet- 
violet and purple-violet. , 

2. Orange, yellow, yellowgreen, green, bluegreen with 
purple-violet and purple-crimson. 

3. Yellow, yellowgreen, green, bluegreen, blue with purple- 
crimson and scarlet-crimson. - 

4. Yellowgreen, green, bluegreen, blue, blueviolet with 
scarlet-crimson and scarlet-red. 

5. Green, bluegreen, blue, blueviolet, violet with scarlet-red 
and orange-red. . 

6. Bluegreen, blue, blueviolet, violet, purple with orange-red 
and orange-yellow. 

7. Blue, blueviolet, violet, purple, crimson with orange- 
yellow and yellowgreen-yellow. 

8. Blueviolet, violet, purple, crimson, scarlet with yellow- 
green-yellow and yellowgreen-green. 

9. Violet, purple, crimson, scarlet, red with yellowgreen-green 
and bluegreen-green. 

10. Purple, crimson, scarlet, red, orange with bluegreen-green 
and bluegreen-blue. 

11. Crimson, scarlet, red, orange, yellow with bluegreen-blue 
and blueviolet-blue. 

12. Scarlet, red, orange, yellow, yellowgreen with blueviolet- 
blue and blueviolet-violet. 


And again we have twelve color combinations with 
split complementaries, and these likewise should be done 
in all the shades and tints as in the previous lesson, again 


88 THE STUDY OF COLOR 


calling your attention to the distribution of colors in 
masses, as explained. 


QUESTIONNAIRE 


1. How many spectrums do you use when you have five colors 
against two mutual complementaries? 

2. Give an example of five colors and two mutual comple- 
mentaries, one color of which is orange. 

3. Give an example of five colors and two mutual comple- 
mentaries, one color of which is yellowgreen. 

4. Give an example of five colors and two mutual comple- 
mentaries, one color of which is bluegreen. 

5. Give an example of five colors and two mutual comple- 
mentaries, one color of which is blueviolet. 

6. Give an example of five colors and two mutual comple- 
mentaries, one color of which is purple. 


TWENTY-NINTH LESSON 
FivE Cotors AND THREE MutTuAL COMPLEMENTARIES 


The next combination of colors is known as five colors 
with three mutual or split complementaries. ‘This is the 
same as if we took five spectrum charts and divided up the 
complementaries, instead of in two equal parts, into three 
equal parts. Taking as an example the red, orange, yel- 
low, yellowgreen, and green as the five colors, the three 
mutual complementaries would be blueviolet, violet, and 
purple. 

After completing the drawing on charts No. 60 and 
61 color the designs as follows: 


THE STUDY OF COLOR 89 


1. Red, orange, yellow, yellowgreen, green with blueviolet, 
violet, purple. 

2. Orange, yellow, yellowgreen, green, bluegreen with violet, 
purple, crimson. 

3. Yellow, yellowgreen, green, bluegreen, blue with purple, 
crimson, scarlet. 

4. Yellowgreen, green, bluegreen, blue, blueviolet with crim- 
son, scarlet, red. 

5. Green, bluegreen, blue, blueviolet, violet with scarlet, red, 
orange. 

6. Bluegreen, blue, blueviolet, violet, purple with red, orange, 
yellow, 

7. Blue, blueviolet, violet, purple, crimson with orange, yel- 
low, yellowgreen. | 

8. Blueviolet, violet, purple, crimson, scarlet with yellow, 
yellowgreen, green. 

g. Violet, purple, crimson, scarlet, red with yellowgreen, 
green, bluegreen. 

10. Purple, crimson, scarlet, red, orange with green, bluegreen, 
blue. 

11. Crimson, scarlet, red, orange, yellow with bluegreen, blue, 
blueviolet. 

12. Scarlet, red, orange, yellow, yellowgreen with blue, blue- 
violet, violet. 


And again we have twelve color combinations. Re- 
member that we must practice so as to make these in the 
shades and tints. 


QUESTIONNAIRE 


1. How many spectrums do you use when you have five colors 
against three mutual complementaries ? 

2. Give an example of five colors and three mutual comple- 
mentaries, one color of which is scarlet. 

3. Give an example of five colors and three mutual comple- 
mentaries, one color of which is red. 


90 THE STUDY OF COLOR 


4. Give an example of five colors and three mutual comple- 
mentaries, one color of which is yellowgreen. 

5. Give an example of five colors and three mutual comple- 
mentaries, one color of which is blueviolet. 

6. Give an example of five colors and three mutual comple- 
mentaries, one color of which is yellow. 


THIRTIETH LESSON 
Five Cotors AND Four MuTuAL COMPLEMENTARIES 


This is the same as if we took five spectrums and 
instead of dividing the regular complementaries into three 
equal parts as we did in the previous lesson we divide the 
rays into four equal parts. Taking as an example, red, 
orange, yellow, yellowgreen, and green, the complemen- 
tary colors would be blueviolet-blue, blueviolet-violet, 
purple-violet, and purple-crimson. 

After completing the drawing on charts No. 62 and 
63 you will color these designs as follows: 


1. Red, orange, yellow, yellowgreen, green with blueviolet- 
blue, blueviolet-violet, purple-violet, purple-crimson. 

2. Orange, yellow, yellowgreen, green, bluegreen with blue- 
violet-violet, purple-violet, purple-crimson, scarlet-crimson. 

3. Yellow, yellowgreen, green, bluegreen, blue with purple- 
violet, purple-crimson, scarlet-crimson, scarlet-red. 

4. Yellowgreen, green, bluegreen, blue, blueviolet with purple- 
crimson, scarlet-crimson, scarlet-red, orangé-red. 

5. Green, bluegreen, blue, blueviolet, violet with scarlet-crim- 
son, scarlet-red, orange-red, orange-yellow. 

6. Bluegreen, blue, blueviolet, violet, purple with scarlet-red, 
orange-red, orange-yellow, yellowgreen-yellow. 


THE STUDY OF COLOR 91 


7. Blue, blueviolet, violet, purple, crimson with orange-red, 
orange-yellow, yellowgreen-yellow, yellowgreen-green. 

8. Blueviolet, violet, purple, crimson, scarlet with orange- 
yellow, yellowgreen-yellow, yellowgreen-green, bluegreen-green. 

g. Violet, purple, crimson, scarlet, red with yellowgreen- 
yellow, yellowgreen-green, bluegreen-green, bluegreen-blue. 

10. Purple, crimson, scarlet, red, orange with yellowgreen- 
' green, bluegreen-green, bluegreen-blue, blueviolet-blue. 

11. Crimson, scarlet, red, orange, yellow with bluegreen-green, 
bluegreen-blue, blueviolet-blue, blueviolet-violet. 

12. Scarlet, red, orange, yellow, yellowgreen with bluegreen- 
‘blue, blueviolet-blue, blueviolet-violet, purple-violet. 


And again we have twelve color combinations. which 
can be made in all the shades and tints as you have done 
in the other lessons. 


QUESTIONNAIRE 


1. How many spectrums do you use when you have five 
colors against four mutual complementaries? 

2. Give an example of five colors and four mutual comple- 
mentaries, one color of which is green. 

3. Give an example of five colors and four mutual comple- 
mentaries, one color of which is scarlet-red. 

4. Give an example of five colors and four mutual comple- 
mentaries, one color of which is orange-red. 

5. Give an example of five colors and four mutual comple- 
mentaries, one color of which is orange-yellow. 

6. Give an example of five colors and four mutual comple- 
mentaries, one color of which is yellowgreen. 


92 THE STUDY OF COLOR 


THIRTY-FIRST LESSON 
Stix CoLors AND ONE MutTuaL CoMPLEMENTARY 


This exercise starts with the last classification of the 
split complementaries. ‘Taking up the first exercise of six 
colors against one mutual complementary, it is the same as 
if we took six spectrums and taking all the complemen- 
taries throw them into one as we did with the five spec- 
trums. Let us take as an example red, orange, yellow, 
yellowgreen, green, bluegreen—as long as we keep within 
six we have not made a complementary with any one color; 
however, if we added a seventh color in sequence we would 
have added the complementary of the first one. Instead 
we find out what the color of the mutual complementary 
is of all six colors combined. We know that the comple- 
mentaries of all six colors are blue, blueviolet, violet, 
purple, crimson, scarlet—throwing all these rays of light 
into the center color gives us a color known as purple- 
violet. This is practically the same color as would have 
been used in two against one with the yellow and yellow- 
green, as their mutual complementary was also purple- 
violet. ‘This is easily explained when you come to think 
that each end or added color would make this purple- 
violet. For example, if you mixed the complementary of 
orange which is blueviolet, and the complementary of 
green which is crimson you would make a purple-violet, 
and if you mixed the complementary of red which is blue, 


THE STUDY OF COLOR ~—~93 


and the complementary of bluegreen which is scarlet you 
would also make a purple-violet, that is, of course, using 
the rays of light as a means of getting our complementary. 
As I said before it is very important to remember the first 
three lessons in the split complementaries, namely, one 
against two, one against three, two against three, as they 
are the key to all the mutual complementaries. 

After filling in the designs on charts No. 64 and 65, 
and making extra charts as we did before, you will color 
the designs as follows: 


1. Red, orange, yellow, yellowgreen, green, bluegreen with 
purple-violet. 

2. Orange, yellow, yellowgreen, green, bluegreen, blue with 
purple-crimson. 

3. Yellow, yellowgreen, green, bluegreen, blue, blueviolet 
with scarlet-crimson. 

4. Yellowgreen, green, bluegreen, blue, blueviolet, violet with 
scarlet-red. 

5. Green, bluegreen, blue, blueviolet, violet, purple with 
orange-red. 

6. Bluegreen, blue, blueviolet, violet, purple, crimson with 
orange-yellow. 

7. Blue, blueviolet, violet, purple, crimson, scarlet with yel- 
lowgreen-yellow. 

8. Blueviolet, violet, purple, crimson, scarlet, red with yellow- 
green-green. 

g. Violet, purple, crimson, scarlet, red, orange with bluegreen- 
green. 

10. Purple, crimson, scarlet, red, ‘orange, yellow with blue- 
green-blue. 

11. Crimson, scarlet, red, orange, yellow, yellowgreen with 
blueviolet-blue. : | 

12. Scarlet, red, orange, yellow, yellowgreen, green with blue- 
violet-violet. 


94 THE STUDY OF COLOR 


Again we have twelve designs, with six colors against 
one mutual complementary. As we have noted before, the 
mass or distribution of color can be done in numbers of 
different ways, either by making the mutual complemen- 
tary in the neutralized tones or tints in large masses or 
else in smaller masses in more brilliant color than the six 
mutual complementaries, or we can gray the six colors and 
also gray the one mutual complementary, but of course 
not so much that the single color will be more brilliant or 
in larger area. 

QUESTIONNAIRE 

1. How many spectrums do you use when you have six colors 
against one mutual complementary ? 

2. Give an example of six colors and one mutual complemen- 
tary, one color of which is orange-red. 

3. Give an example of six colors and one mutual comple- 
mentary, one color of which is orange. 

4. Give an example of six colors and one mutual complemen- 
tary, one color of which is purple. 

5. Give an example of six colors and one mutual comple- 
mentary, one color of which is bluegreen-blue. 


6. Give an example of six colors and one mutual comple- 
mentary, one color of which is scarlet. 


THIRTY-SECOND LESSON 
Stix CoLtors AND Two MuTuAL CoMPLEMENTARIES 


In this exercise, the same as in the previous one, we 
take six spectrums, and instead of throwing all the com- 
plementary colors into one we divide them into two equal 
parts. Taking as an example red, orange, yellow, yellow- 


THE STUDY OF COLOR 95 


green, green, bluegreen, their complementaries would be 
blue, blueviolet, violet, purple, crimson, scarlet. If we 
throw these rays into two equal parts we get two colors 
known as violet and purple. 

After completing the drawing of the designs on charts 
No. 66 and 67 you-will draw extra charts as you have 
done previously. Color the designs as follows: 


1. Red, orange, yellow, yellowgreen, green, bluegreen with 
violet and purple. 

2. Orange, yellow, yellowgreen, green, bluegreen, blue with 
purple and crimson. 

3. Yellow, yellowgreen, green, bluegreen, blue, blueviolet 
with crimson and scarlet. 

4. Yellowgreen, green, bluegreen, blue, blueviolet, violet with 
scarlet and red. 

5. Green, bluegreen, blue, blueviolet, violet, purple with red 
and orange. 

6. Bluegreen, blue, blueviolet, violet, purple, crimson with 
orange and yellow. 

7. Blue, blueviolet, violet, purple, crimson, scarlet with yellow 
and yellowgreen. 

8. Blueviolet, violet, purple, crimson, scarlet, red with yellow- 
green and green. 

g. Violet, purple, crimson, scarlet, red, orange with green and 
bluegreen. 

10. Purple, crimson, scarlet, red, orange, yellow with bluegreen 
and blue. 

11. Crimson, scarlet, red, orange, yellow, yellowgreen with 
blue and blueviolet. 

12. Scarlet, red, orange, yellow, yellowgreen, green with blue- 
violet and violet. 


Again we have twelve designs, with six colors against 
two mutual complementaries. It is not necessary now to 


96 THE STUDY OF COLOR 


call the attention to making additional designs with the 
grays or neutralized colors, as I believe that the student, 
at the present time, is well acquainted with the possibilities 
of making all the different gradations. 


QUESTIONNAIRE 


1. How many spectrums do you use when you have six colors 
and two mutual complementaries? 

2. Give an example of six colors and two mutual comple- 
mentaries, one color of which is bluegreen. 

3. Give an example of six colors and two mutual comple- 
mentaries, one color of which is red. 

4. Give an example of six colors and two mutual comple- 
mentaries, one color of which is yellowgreen. 

5. Give an example of six colors and two mutual comple- 
mentaries, one color of which is purple. 

6. Give an example of six colors and two mutual comple- 
mentaries, one color of which is blue. 


THIRTY-THIRD LESSON 
Srx CoLors AND THREE MuTuAL COMPLEMENTARIES 


This is the same as taking six spectrums and dividing 
the complementaries into three equal parts. ‘Taking as 
an example, red, orange, yellow, yellowgreen, green, blue- 
green, their complementaries would be blue, blueviolet, 
violet, purple, crimson, scarlet, and taking the total light 
of these complementaries and dividing them up into three 
spectral rays we would have a blueviolet-violet, a purple- 


= THE STUDY OF COLOR 97 


violet, and a purple-crimson. This is the same theory 
which gave us the split complementary of one against two 
or four against three, as on the latter we have simply 
added two ends, the complementaries of which if mixed 
together could be divided up also into the three colors 
enumerated. You can see by this that all the splits are 
related. After completing the drawing of the designs on 
charts Nos. 68 and 69 you will color them as follows: 


1. Red, orange, yellow, yellowgreen, green, bluegreen with 
blueviolet-violet, purple-violet, purple-crimson. 

2. Orange, yellow, yellowgreen, green, bluegreen, blue with 
purple-violet, purple-crimson, scarlet-crimson. 

3. Yellow, yellowgreen, green, bluegreen, blue, blueviolct 
with purple-crimson, scarlet-crimson, scarlet-red. 

4. Yellowgreen, green, bluegreen, blue, blueviolet, violet with 
scarlet-crimson, scarlet-red, orange-red. 

5. Green, bluegreen, blue, blueviolet, violet, purple with 
scarlet-red, orange-red, orange-yellow. 

6. Bluegreen, blue, blueviolet, violet, purple, crimson with 
orange-red, orange-yellow, yellowgreen-yellow. 

7. Blue, blueviolet, violet, purple, crimson, scarlet with 
orange-yellow, yellowgreen-yellow, yellowgreen-green. 

8. Blueviolet, violet, purple, crimson, scarlet, red with yellow- 
green-yellow, yellowgreen-green, bluegreen-green. 

9. Violet, purple, crimson, scarlet, red, orange with yellow- 
green-green, bluegreen-green, bluegreen-blue. 

10. Purple, crimson, scarlet, red, orange, yellow with bluegreen- 
green, bluegreen-blue, blueviolet-blue. 

11. Crimson, scarlet, red, orange, yellow, yellowgreen with 
bluegreen-blue, blueviolet-blue, blueviolet-violet. 

12. Scarlet, red, orange, yellow, yellowgreen, green with blue- 
violet-blue, blueviolet-violet, purple-violet. 


98 THE STUDY OF COLOR 


QUESTIONNAIRE 


1. How many spectrums do you use when you have six colors 
and three mutual complementaries? 

2. Give an example of six colors and three mutual comple- 
mentaries, one color of which is purple-violet. 

3. Give an example of six colors and three mutual comple- 
mentaries, one color of which is yellow. 

4. Give an example of six colors and three mutual comple- 
mentaries, one color of which is scarlet-red. 

5. Give an example of six colors and three mutual comple- 
mentaries, one color of which is blueviolet. 

6. Give an example of six colors and three mutual comple- 
mentaries, one color of which is green. 


THIRTY-FOURTH LESSON 
Srx CoLors AND Four MutTuaL CoMPLEMENTARIES 


This is the same as taking six spectrum charts; and 
again taking all the complementaries together. Instead of 
having six regular complementaries you divide the total 
amount of the color light into four rays of light. Take as 
an example red, orange, yellow, yellowgreen, green, blue- 
green—we find the four colors that would be mutually 
complementary are blueviolet, violet, purple, and crimson. 
This is the same as we did in the split color combination 
of three against one, only adding more colors on each end, 
as the end complementary light when mixed together 
would make the same as the center. 

After completing the drawing of the designs on charts 
No. 70 and 71 you will color them as follows: 


THE STUDY OF COLOR 99 


1. Red, orange, yellow, yellowgreen, green, bluegreen with 
blueviolet, violet, purple, crimson. 

2. Orange, yellow, yellowgreen, green, bluegreen, blue with 
violet, purple, crimson, scarlet. — 

3. Yellow, yellowgreen, green, bluegreen, blue, blueviolet with 
purple, crimson, scarlet, red. 

4. Yellowgreen, green, bluegreen, blue, blueviolet, violet with 
crimson, scarlet, red, orange. 

5. Green, bluegreen, blue, blueviolet, violet, purple with 
scarlet, red, orange, yellow. : 

6. Bluegreen, blue, blueviolet, violet, purple, crimson with 
red, orange, yellow, yellowgreen. 

7. Blue, blueviolet, violet, purple, crimson, scarlet with 
orange, yellow, yellowgreen, green. 

8. Blueviolet, violet, purple, crimson, scarlet, red with yellow, 
yellowgreen, green, bluegreen. 

g. Violet, purple, crimson, scarlet, red, orange with ellewe 
green, green, bluegreen, blue. 

10. Purple, crimson, scarlet, red, orange, yellow with green, 
bluegreen, blue, blueviolet. 

11. Crimson, scarlet, red, orange, yellow, yellowgreen with 
bluegreen, blue, blueviolet, violet. 

12. Scarlet, red, orange, yellow, yellowgreen, green with blue, 
blueviolet, violet, purple. 


Again you see we have twelve designs, and again re- 


minding you of doing all these extra charts in the neutral- 
ized tones and tints. 


QUESTIONNAIRE 


1. How many spectrums do you use when you have six colors 
and four mutual complementaries ? 

2. Give an example of six colors and four mutual comple- 
mentaries, one color of which is bluegreen. 

3. Give an example of six colors and four mutual comple- 
mentaries, one color of which is yellow. 


100 THE STUDY OF COLOR 


4. Give an example of six colors and four mutual comple- 
mentaries, one color of which is red. 

5. Give an example of six colors and four mutual comple- 
mentaries, one color of which is orange. 

6. Give an example of six colors and four mutual comple- 
mentaries, one color of which is blueviolet. 


THIRTY-FIFTH LESSON 
Srtx CoLtors AND FivE MutTuAL COMPLEMENTARIES 


This is the same as if we took again the six spectrums, 
and dividing up the complementaries into five equal parts 
instead of as in the regular complementaries of six colors. 
Taking as an example red, orange, yellow, yellowgreen, 
green, bluegreen, the regular complementaries of which 
would be blue, blueviolet, violet, purple, crimson, scarlet, 
we throw these rays together and divide them again into 
five parts, which would give us the colors of the 24- 
color spectrum, namely, blueviolet-blue, blueviolet-violet, 
purple-violet, purple-crimson, and scarlet-crimson. This 
is in the same classification as the two colors against one, 
only multiplied five times. 

After completing the drawing of the designs on charts 
No. 72 and 73 you will color them as follows: 


1. Red, orange, yellow, yellowgreen, green, bluegreen with 
blueviolet-blue, blueviolet-violet, purple-violet, purple-crimson, 
scarlet-crimson. : 

2. Orange, yellow, yellowgreen, green, bluegreen, blue with 
blueviolet-violet, purple-violet, purple-crimson, scarlet-crimson, 
scarlet-red. 


THE STUDY OF COLOR 101 


3. Yellow, yellowgreen, green, bluegreen, blue, blueviolet 
with purple-violet, purple-crimson, scarlet-crimson, scarlet-red, 
orange-red. 

4. Yellowgreen, green, bluegreen, blue, blueviolet, violet with 
purple-crimson, scarlet-crimson, scarlet-red, orange-red, orange- 
yellow. 

5. Green, bluegreen, blue, blueviolet, violet, purple with 
scarlet-crimson, scarlet-red, orange-red, orange-yellow, yellow- 
green-yellow. 

6. Bluegreen, blue, blueviolet, violet, purple, crimson with 
scarlet-red, orange-red, orange-yellow, yellowgreen-yellow, yel- 
lowgreen-green. 

7. Blue, blueviolet, violet, purple, crimson, scarlet with 
orange-red, orange-yellow, yellowgreen-yellow, yellowgreen-green, 
bluegreen-green. 

8. Blueviolet, violet, purple, crimson, scarlet, red with orange- 
yellow, yellowgreen-yellow, yellowgreen-green, bluegreen-green, 
bluegreen-blue. 

g. Violet, purple, crimson, scarlet, red, orange with yellow- 
green-yellow, yellowgreen-green, bluegreen-green, bluegreen-blue, 
blueviolet-blue. 

10. Purple, crimson, scarlet, red, orange, yellow with yellow- 
green-green, bluegreen-green, bluegreen-blue, blueviolet-blue, blue- 
violet-violet. 

11. Crimson, scarlet, red, orange, yellow, yellowgreen with 
bluegreen-green, bluegreen-blue, blueviolet-blue, blueviolet-violet, 
purple-violet. 

12. Scarlet, red, orange, yellow, yellowgreen, green with blue- 
green-blue, blueviolet-blue, blueviolet-violet, purple-violet, purple- 
crimson. 


And again, for the last time, we have twelve color 
combinations, based on the six colors with five mutual com- 
plementaries. ‘The student should try out many of these 
color combinations as before in the neutralized tones and 
tints. 


102 THE STUDY OF COLOR 


We have now done the split or mutual color comple- 
mentaries which balance from the center. Other color 
combinations based on the mutual or split complementaries 
can be arranged with the balance on the two ends, and not 
in the center. For example, you could take either the 
fours, fives, or sixes, and balance with two, three, four, or 
five—if you took the red, orange, yellow, yellowgreen, 
green, bluegreen you could have the regular complemen- 
taries divided up so that the mutual complementaries 
would be blueviolet-blue, blueviolet-violet, purple-crimson, 
and scarlet-crimson. ‘This would give you only four 
mutual complementaries against six, but you will see that 
if this was five colors against six instead of four colors 
you would have left out only the mutual complementary 
which would have been purple-violet, but this also would 
balance and make what we know as a syncopation or skip- 
ping of color. Another example would be to take four 
colors—red, orange, yellow, yellowgreen with blue and 
purple as the mutual complementaries, and here again it 
is the same as the regular compleméntaries, but you have 
left out the two center colors in the regular, five and five 
complementaries, which would have been blueviolet and 
violet, in other words, starting the color combinations 
from the ends rather than from the center. In this synco- 
pation you would have to make only two complementaries 
very much more brilliant than you would in the regular 
complementary combination. 


THE STUDY OF COLOR 103 


QUESTIONNAIRE 


1. How many spectrums do you use when you have six colors 
and five mutual complementaries? 

2. Give an example of six colors and five mutual comple- 
mentaries, one color of which is purple-crimson. 

3. Give an example of six colors and five mutual comple- 
mentaries, one color of which is orange. 

4. Give an example of six colors and five mutual comple- 
mentaries, one color of which is yellowgreen. 

5. Give an example of six colors and five mutual comple- 
mentaries, one color of which is orange-red. 

6. Give an example of six colors and five mutual comple- 
mentaries, one color of which is blue. 


THIRTY-SIXTH LESSON 
‘TRIADS 


By using the Spectrum Chart on Plate I in this 
method you will be able to explain the color theories of all 
scientists. ‘The three primary colors which they take as a 
standard are very easy to understand, some taking one 
triad as the three primaries, others taking another set of 
three colors. In this book I have chosen to select the one 
that was discovered by Helmholtz, of red, green, and 
violet, but it would make no difference in regard to the 
color combinations which system we used, provided the 
spectrum was divided up into three equal parts in the exact 
colors or hues enumerated, as the complementaries 
would always be the same and the combinations likewise. 


104 THE STUDY OF COLOR 


Care must be taken, however, in seeing that the exact hue 
is selected. For example, in mentioning blue it must not be 
a blueviolet, or a green must not be a bluegreen. The 
spectrum must always be divided up in exact thirds. This 
will explain many of the conflicting theories that have been 
published heretofore. So many scientists use different 
names for colors, whereas if we have the standard name, 
as we have used in this book, there should never be a con- 
flict providing the theory is based on the laws of nature. 

You will color chart No. 74 in the following colors: 


1. Red, green, and violet. 

2. Orange, bluegreen, and purple. 

3. Yellow, blue, and crimson. 

4. Yellowgreen, blueviolet, and scarlet. 


The other two designs on this page you will color in 
the neutralized colors of any one of these triads. 


QUESTIONNAIRE 


1. What is meant by a triad? 

2. What was the color of the spectrum discovered by Helm- 
holtz? 

3. What is the difference between the Helmholtz spectrum 
and the Newton spectrum? 

4. How do we know which is the blue of the spectrum? 

5. How do we know which is the crimson of the spectrum? 

6. How do we know which is the yellow of the spectrum? 

7. Give an example of a triad, one color of which is red. 

8. Give an example of a triad, one color of which is yellow. 

9. Give an example of a triad, one color of which is yellow- 


10. Can I name any other triad in the 12-color spectrum? 


THE STUDY OF COLOR 105 


THIRTY-SEVENTH LESSON : 


Fe siad ok 
i 
ok 


MoNocHROMES 


The last exercise is a very simple one and is based on 
the idea of training the eye to paint in one color only, in 
all its shades and tints. It is necessary to make one chart 
for each color. You have therefore been supplied blank 
charts, enough for all twelve colors, Nos. 75 to 86. Color 
one chart in red, the next in orange, etc., as follows: 


ist Design. oA, 1A, 2A, 3A. 
2d Design. oB, 1B, 2B, 3B. 
3d Design. oC, 1C, 2C, 3C. 
4th Design. oD, 1D, 2D, 3D. 
5th Design. oA, 1B, 2C, 3D. 
6th Design. oD, 1C, 2B, 3A. 


These colors will all be red, with the different shades 
and tints, without showing the complementary itself. 

You will now make another chart using only orange in 
the same way, as was said, and another one with yel- 
low, another with yellowgreen, another with green, an- 
other with bluegreen, another with blue, another with blue- 
violet, another with violet, another with purple, another 
with crimson, and another with scarlet. This will make 
twelve charts all in monochrome, and you can select any 
means of composition, either with the figure, landscape, 
or conventional design. 


This ends the color exercises for composition of color. 


106 | THE STUDY OF COLOR 


QUESTIONNAIRE 


1. What is meant by a monochrome? 
2. Give an example of a monochrome in red, using the num- 
bers and letters in color-mixing chart. 


3. Give another example using only the tints of the brilliant 
color. 


4. Give another example using only the neutralized colors in 
the 3d neutralization. 


THIRTY-EIGHTH LESSON 
STILL LIFE PAINTING 
THE PAINTING AND THE STUDY OF SHADOWS 


THE SHADOW OF AN OBJECT GOES TOWARD ITS COM- 
PLEMENTARY, how far toward its complementary depends 
on how brilliant the object is or how much light is on the 
object. All colors that are orange, red, scarlet, crimson, 
purple, and violet go counter-clockwise to their comple- 
mentary. All colors that are yellow, yellowgreen, green, 
bluegreen, blue, and blueviolet go clockwise to their com- 
plementary on the spectrum chart. 

The more light that is on an object the further around 
toward its complementary color will the shadow go, 1.e., 
if an orange vase is painted indoors, the shadow of the 
orange vase will go toward its complementary counter- 
clockwise on the spectrum chart. This would bring the 
color of the shadow to about crimson or scarlet; now as 


THE COLOR OF SHADOWS 
STILL LIFE 








COPPER AND BRASS 


Showing the shadow going both ways to the complementary 





+ BLUE VASE 


Showing the shadow going to its complementary as far as purple in sequence with orange highlight 


Pirate XVI 





THE STUDY OF COLOR 107 


the shadow is down in brilliancy, this crimson or scarlet 
would be neutralized as in your color charts with their 
respective complementaries, i.e., the lighted side of the 
vase would be orange oA, and the shadow indoors would 
be Az or B2, depending how much light and how much 
reflected light is on the object. If the same vase was 
placed outdoors under a clouded sky the shadow would 
go further toward the complementary and would be about 
the color of purple, grayed, of course, with its comple- 
mentary. If the same object was placed in the sunlight 
and the lighted side was still orange the shadow would be 
a grayed violet. All of these shadows would be modified 
by the reflected lights in them, such as the. light of the 
ceiling, the light of the sky, or the reflected light of the 
ground, etc. | 

You will notice that the highlight on a shiny surface 
will not be white or a direct reflection of the light, but will 
be mixed with a color which is either its complementary 
or a color toward its complementary, depending on how 
shiny the surface is. If the object has a highly glazed 
surface, as a perfect mirror, you will notice that while it 
reflects a window or other light it will be tinted with the 
direct complementary of the lighted side. If this surface, 
however, is not so shiny this light will go toward the com- 
plementary the reverse way to the way the shadow goes, 
and if it has a dull surface it will not go even as far as a 
semi-glazed surface. 

Metallic surfaces go both ways to their complementary 
simultaneously—this accounts for the iridescent quality of 
copper, brass, and other metals. It has been found that 


108 THE STUDY OF COLOR 


this is the reason for the metallic surface in contradiction 
to the pigmentary surface. 

If you wish to contiue the study of color for the use 
of landscape painting or portrait painting and all the ap- 
plied arts, you can find much more of this phenomena of 
nature in “The Art of Color.” 


QUESTIONNAIRE 


1. Is the color of a shadow the same color as the lighted side ?. 

2. How do we determine the color of a shadow? 

3. Which way does the shadow of an orange object go in 
the spectrum chart? 

4. Which way does the shadow of a red object go in the 
spectrum chart? 

5. Which way does the shadow of a scarlet object go in 
the spectrum chart? 

6. Which way does the shadow of a crimson object go in 
the spectrum chart? 

7. Which way does the shadow of a purple object go in 
the spectrum chart? 

8. Which way does the shadow of a violet object go in 
the spectrum chart? 

g. Which way does the shadow of a yellow object go in 
the spectrum chart? 

10. Which way does the shadow of a yellowgreen object go 
in the spectrum chart? 

11. Which way does the se: of a green object go in 
the spectrum chart? 

12. Which way does the shadow of a bluegreen object go in 
the spectrum chart? 

13. Which way does the shadow of a blue object go in the 
spectrum chart? 

14. Which way does the shadow of a blueviolet object go in 
the spectrum chart? 


THE STUDY OF COLOR 109 


15. What happens to the shadow when an object has a lot 
of light reflected from it? 

16. Does the same thing happen if the color is brilliant as 
when it is dull ? 

17. Does an object placed outdoors in the brilliant sun have 
the same color shadow as when indoors, and what is the difference ? 

18. What color is the highlight of an object if it has a glazed 
surface ? 

19. What happens to metallic surfaces? 

20. What is the difference between a metallic surface and a 
pigmentary surface? 





t 
i 
' 


GLOSSARY 


. LicHt.—A vibration which makes us see, or chemicals to act. 
Without light all colors are black. | 

. SPECTRUM.—A beam of light divided into its component color 
rays. 

. Cotor.—The power of any substance to reflect one or more 
rays of the spectrum. Dye, pigments, flowers and leaves, 
earth, metal, in fact everything in nature can reflect some 
color rays of the spectrum. 

. WuitTE.—Any substance which has the power to reflect all 
of the rays of the spectrum equally well. 

. BLtacK,—Any substance which cannot reflect any of the rays 
of the spectrum. In theory this is so, but practically all 
substances, even black velvet, which is the least reflective, 
reflects some light, and therefore color. Only where there 
is an absence of light is there black, and then all colors 
are black, including white. | 

. PIGMENT.—A chemical or any substance which has the power 
to reflect one or more of the rays of the spectrum. 

. COMPLEMENTARIES.—I wo colors which when combined com- 
plete a spectrum. ‘To find out if a color is complementary 
mix the two colors together and if they form a perfectly 
neutral gray they are complementary, or throw two lights 
together and if they make a white light they are comple- 
mentary. 3 

. SPLIT COMPLEMENTARIES.—A set of colors which have their 
complementaries joined in less numbers than the regular 
complementaries, which when mixed together would make 
a neutral gray and uses two or more spectrums. 

. Harmonigs.—Any set of colors within half a spectrum, not 
111 


112 


10. 


II. 
12. 


13: 


14. 


15. 


16. 


17. 


18. 


19. 


GLOSSARY 


more than six and not less than three in the 12-color 
spectrum, or not more than twelve or not less than three 
in the 24-color spectrum. 

NEUTRALIZED CoLors.—A pigment or other substance which 
cannot reflect any ray of the spectrum perfectly, and is 
made by mixing its complementary in more or less quantity. 

SHADE OR ‘ToNE.—A color which is neutralized. 

Tint.—Any color which is lighter than the intense color of 
the spectrum, either by adding white or diluting; not full 
saturation. ‘The power of any substance to reflect more or 
less perfectly all colors of the spectrum, but one color in 
particular a little better than the other rays. 

NEUTRAL.—A pigment or dye or other substance which reflects 
all colors of the spectrum imperfectly, not one in particular. 
A diluted black wash on top of white paper would make 
a neutral if the black was a non-reflective color. Gray. 

BRILLIANT Cotor.—A color which has the power to reflect 
perfectly one or more rays of the spectrum. ‘This is only 
relative as there is no pigment made that reflects perfectly 
the rays of the spectrum. 


-ONE COLOR AND ONE COMPLEMENTARY.—A combination of 


colors using one complete spectrum, which if mixed together 
would make a neutral, whether in brilliants or neutralized 
tones or tints. 

Two Coors AND Two CoMPLEMENTARIES.—A combination 
of colors using two spectrums, which if mixed together 
would make a neutral, whether in brilliants or neutralized 
tones or tints. 

THREE COLORS AND THREE COMPLEMENTARIES.—A combi- 
nation of colors using three spectrums, which if mixed 
together would make a neutral, whether in brilliants or 
neutralized tones or tints. 

Four CoLors AND Four CoMPLEMENTARIES.—A combina- 
tion of colors using four spectrums, which if mixed together 
would make a neutral, whether in brilliants or neutralized 
tones or tints. 

Fiv—E Cotors AND FiIvE COMPLEMENTARIES.—A_ combina- 


2 


of GLOSSARY ae 113 


tion of colors using five spectrums, which if mixed together 
would make a neutral, whether in brilliants or neutralized 
tones or tints. 

20. THREE Colors IN ANALOGOUS HarMony.—Three colors in 
the spectrum which are adjacent to each other, whether in 
brilliants or in neutralized tones or tints. 

21. Four Cotors in ANALocous HarmMony.—Four colors in 

- the spectrum which are adjacent to each other, whether in 
brilliants or in neutralized tones or tints. 

22. FivE Cotors in ANALOGouS HarMony.—Five colors in the 
spectrum which are adjacent to each other, whether in 
brilliants or in neutralized tones or tints. 

23. Six CoLors in ANALOoGoUuS HarMony.—Six colors in the 
spectrum which are adjacent to each other, whether in 
brilliants or in neutralized tones or tints. 

24. Two CoLors AND ONE MutTuAL COMPLEMENTARY.— 
A combination of colors which uses two spectrum bands, 
the complementaries of which are combined into one ray, 
which if mixed together would make a perfect neutral gray. 

25. THREE COLoRS AND ONE MutTuaL CoMPLEMENTARY.— 
A combination of colors which uses three spectrum bands, 


. the complementaries of which are combined into one ray, 
% which if mixed together would make a perfect neutral 
gray. 


26. THREE CoLors AND Two MutTuAL CoMPLEMENTARIES.— 
A combination of colors which uses three spectrum bands, 
the complementaries of which are combined into two rays, 
which if mixed together would make a perfect neutral 
gray. 

27. Four CoLors aND OnE MutTuat CoMPLEMENTARY.— 
A combination of colors which uses four spectrum bands, 
the complementaries of which are combined into one ray, 
which if mixed together would make a perfect neutral 
gray. 

28. Four CoLtors anp Two Mutuat CoMPLEMENTARIES.— 
A combination of colors which uses four spectrum bands, 
the complementaries of which are combined into two rays, 


114 GLOSSARY 


which if mixed together would make a perfect neutral 
gray. 

29. Four CoLors AND THREE MuTuAL CoOMPLEMENTARIES.— 
A combination of colors which uses four spectrum bands, 
the complementaries of which are combined into three rays, 
which if mixed together would make a perfect neutral 
gray. 

30. Five CoLors AND ONE MutTuaL CoMPLEMENTARY.—A 
combination of colors which uses five spectrum bands, the 
complementaries of which are combined into one ray, which 
if mixed together would make a perfect neutral gray. 

31. Five CoLtors AND Two MutTuat CoMPLEMENTARIES.— 
A combination of colors which uses five spectrum hands, 
the complementaries of which are combined into two rays, 
which if mixed together would make a perfect neutral 
gray. 

32. Five Cotors AND THREE MutTuAL CoMPLEMENTARIES.— 
A combination of colors which uses five spectrum bands, 
the complementaries of which are combined into three rays, 
which if mixed together would make a perfect neutral 
gray. 

33. FivE CoLtors AND Four MutTuat CoMPLEMENTARIES.— 
A combination of colors which uses five spectrum bands, 
the complementaries of which are combined into four rays, 
which if mixed together would make a perfect neutral 
gray. 

34. Six CoLors AND ONE MutTuaL CoMPLEMENTARY.—A com- 
bination of colors which uses six spectrum bands, the 
complementaries of which are combined into one ray, which 
if mixed together would make a perfect neutral gray. 

35. SIX CoLoRs AND Two MutTuaAL COMPLEMENTARIES.—A 
combination of colors which uses six spectrum bands, the 
complementaries of which are combined into two rays, 
which if mixed together would make a perfect neutral 
gray. 

36. Stix CoLors AND THREE Mutua, CoMPLEMENTARIES.— 
A combination of colors which uses six spectrum bands, 


37: 


38. 


39. 


40 


Pi 


42. 


GLOSSARY 115 


the complementaries of which are combined into three rays, 
which if mixed together would make a perfect neutral 
gray. 

Stix CoLtors AND Four Mutuat CoMPLEMENTARIES.—A 
combination of colors which uses six spectrum bands, the 
complementaries of which are combined into four rays, 
which if mixed together would make a perfect neutral 
gray. 

Six CoLors AND Five Mutua CoMPLEMENTARIES. —A 
combination of colors which uses six spectrum bands, the 
complementaries of which are combined into five rays, 
which if mixed together would make a perfect neutral gray. 

Triaps. A combination of colors which divides the spectrum 
into three equal parts, which if mixed together would form 
a perfect neutral gray. 

. MonocHRoMEs.—One color which is either brilliant, neutral- 
ized with its complementary or in any tint of the brilliant 
or neutralized tone. “The same color shown in more or less 
intense light or shadow. 

SHaADOWS.—The shadow of an object always goes toward the 
complementary, depending how much light is on the object 
or how brilliant the object is. 

HiGHLIGHT.—The highlight of an object is always tinted 
with its complementary if the subject has a glazed surface 
or a color toward its complementary; if the object has a 
semi-glazed or dull surface, the opposite way in which the 
shadow goes on the spectrum circle. 





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MICHEL JACOBS 


Director of the Metropolitan Art School of New York 
Author of “THE STUDY OF COLOR’: 


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«Sieben ange ANAL pe aaa tbe 














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we eet Pe panto re Ot eg SoS Ste pt Ss OE ee Se coe eee Sat IES ea 
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spree he hap - -~ ne Oe eg ae er. tape 
~ Si = bs Pim costae ree a a MP fo A TOL gh Oe aa >, rt rn 
oe rr ao rns Sat nS eS pp OE PAO OT 
. pe or —_ : een po rag Sr 
Bg nee yen aN Sago as ne a gag ge Pee 
PE ge tee ow —— ew a a ene Se ttn gn fn pce a eon SF Sig TS : 
y ad Meagralancie pa  erneceaee na nae a eh NG EO ag he ie ae rc 
ag NALS Vo NF aS ag EO tua oon a cn ann ie nae ae <> 
potiny ne F r ett SPI ee eae ere han ee ne OO AE ipa e  g) ten an ee 
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yin Py wr mA ee ; ~ ioe ig ee 
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ee. 3 ‘tt Pee ~ * Pt tise 
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. = atl : aT in Oe eS OP EOE Sang *, Pe agee 
BOM pte ae a eee re apa eto yal Re nase aR 
a ee gfe ey vag at a shag Be, 3 en a oe gE GT Seat OO ng tae a rn a 
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LO ° Se Sede a ee ay — ° Nf Fs, age tO hance : pa tae et ie Se ee 
ie “n ba I Sryg we Mee oo eee — SE cs Oe ote - et a Se Sa et en ma Sage 
be “ = mig Set a 4 r- ~ a. rime Nat ON merry ~ ag = a Was ’ me pan pes Seed = nals . ne : > 
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r Pe tata see Pm ~ OOF cage gets = ae a c < Pgh e ete a sia ca eat ioe st ‘s 
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oe eer: a ~ Pate ee a i ee a eee on Pn BE gyete base ad oe : 
See? as ; tmocrn ee Zatti Pmt ee tg ee ee ae at Tae a See 
Ieee. = SI an OP gD Pg in : = ~~ Z, 
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Sees. 


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Ear not 
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Beata ante 9 Seeger ee 


SS newt ee RI aD pa Re 
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“secretin ee 
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ee 


on gta tor 








a e Oe aie. Pencil - ~ ‘ — 
SPS amen ont ce rie : 
73 SAR = eas ee SAGs 


